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tlTije i^eume 



CLASS OF 1 909 

Slje i^eume 




Class of 1909 


€i)en Jortian 

^resiibent of our belobcb ^(ma jfHater, toljosie earnesit 
enbeaborfii for tfje abbancement of tfje American 
situbent of musitc babe toon ttm a place in 
tfje fjearts^ of all lobersJ of tfje ^rt, 
tfjis; boofe is gratefully bebicateb 

6 ♦♦♦g^e 3gctiwr^^^ 1909 

Eben D. Jordan 

BEN D. JORDAN, son of the late Eben D. Jordan, who was 
one of the mainstays of the Conservatory in its early growth, was 
born in Boston. He was graduated from Harvard in the Class of 

1880, with Theodore Roosevelt, and in addition received a fine musical 
education. Mr. Jordan is at present the head of the well-known house of 
Jordan Marsh Co. Prompted by his own inclination in musical tastes, 
and influenced by the]^respect and affection for his father, Mr. Jordan has 
taken a most active and most practical interest in the work of the New 
England Conservatory of Music. 


Alumni Association, The 86 

Athletics .............. loi 

Boston and Grand Opera . . . . . . . . . -137 

Chadwick, George Whitefield ......... 15 

Chopin and Mendelssohn . . . . . . . . . .134 

Class of 1908 ............. 78 

Class of 1910 ............. 75 

Concerts Given by Senior Class ......... 69 

Curriculum of a School of Music . . . . . . . .121 

Dawn ............... 63 

Dedication .............. 5 

Directory Committee ........... 13 

Editorials .............. 143 

Editorial Board 9 

Faculty .............. 23 

Flanders, Ralph L 17 

Fraternities : — 

Alpha Chi Omega Sorority .......... 98 

Alpha Chi Omega History .......... 100 

Eta Chapter Phi Mu Gamma Society ........ 95 

Phi iSIu Gamma ............ 95 

Phi Mu Gamma Bazaar ........... 97 

Sinfonia .............. 90 

Goodrich, Wallace 19 

Greetings .............. ii 

Grinds ............... 149 

Holiday in Jail, A ............ 116 

Jordan, Eben D. ............ . 6 

Junior Class : — 

Officers -75 

History .............. 77 

Parker, James Cutler Dunn .......... 21 

Philosophy of the Class of 1909 ......... 66 

Recollection ............. 22 

Senior Class : — 

Officers .............. 42 

Members .............. 43 

History .............. 64 

Silky and Sleeky ............ 112 

The Wandering Minstrel: A Reverie 131 

To Sleep .............. 22 

Advertisements ............. 161 

1909 ...Zfft mtnmt... 9 (S^ 

Editorial Board 


Associate Editors 
Daisy M. Arnold Thomas Moss 

Constance Freeman Hazel C. Phillips 

Mary L. Hare Florence D. Richey 

Fay Hostetter Mildred Siiurtleff 

Elinor Markey Harry M. Snow 

William B. Tyler 


C[TH£ NEL^DE Board. 1909. 
senas out this, the nrdi vol- 
:r. e of THE NEUME, with 
tiie hope that it will be of 
profit to many, enjoyment 
to not a few, and above a-. 
r.elp to create a 5 : : .;e: 
spirit of love for our Alma 

Directory Committee 

EBEN D. JORDAN, President. 



WALLACE GOODRICH, Dean of the Faculty. 
JAMES C. D. PARKER, Class Inspector. 



oeorge Whitefield Chad WICK 

Mass. Studied at the New England Conservatory, and in 1877 
at Leipsig, where he begun his first thorough study of Compo- 
sition under Reinecke and Jadassohn. In 1S79 he went to Dresden, and 
entered the Royal School of Music, and became one of the first American 
pupils of Rheinberger, there studying Conducting of Abel ; returned to 
Boston in 1880; became teacher at the New England Conservatory in the 
same year, and Director in 1897 ; Conductor of the Conservatory Orchestra 
and Chorus. In all lines a composer of international reputation. 

Greeting to the Senior Class : The great and dreadful day of examination 
is approaching. But also the "maddest, merriest day" of graduation. Therefore, 
don't worry, Cheer up, and look pleasant. We all have our troubles. I have a few. 
But you are not one of them. Oh, tiei'n ('09), and so good luck to you all. 


Ralph L. Flanders 

R. FLANDERS was born in Carroll, Me. He comes of good 
old New England stock, both branches of his family running 
back to Revolutionary times. Entering business as a bookkeeper 
when nineteen years of age he won rapid promotion, and in two years was 
taken into the firm, later becoming the head of the concern. 

Mr. Flanders came to the Conservatory as Assistant Manager in July, 
1899. His exceptional experience in business had given him excellent 
training for the position. Immediately his agreeable personality and 
genuine business ability were felt in the management, and gradually 
there spread abroad a knowledge of a change in Conservatory affairs. In 
January, 1904, he was elected Manager — one of the youngest men ever 
entrusted with the responsibility of so large an institution. It is a recog- 
nized fact in the Board of Trustees that to Mr. Flanders' wise administra- 
tion is due the present excellent financial condition of the school ; also the 
increase in pupils and income in the past two years. 

In the able ^Manager the student body finds a true friend. Approach- 
able always, sympathetic, ever ready to respond to the need of advice or 
material help, Mr. Flanders has won a powerful hold on the esteem and 
affection of the students. 

To THE Class of 1909: — 

Greetings and sincere good wishes. 


^1909 ...g^r la^rmur^^. I9 Cr^ 

Wallace Goodrich 

R. GOODRICH was born in Newton, Mass. Studied at the 
Xew England Conservatory under Henry M. Dunham, Organ; 
George \V. Chadwick, Composition; and Louis C. Elson, 
Theory; has also studied with Josef Rheinberger, ^lunich, and C. ^I. 
Widor, Paris. Founder of Choral Art Society of Boston, whose con- 
ductorship he has resigned, in accepting that of the Cecelia Society ; 
formerly conductor of the Worcester County Musical Association ; founder 
and conductor of the Jordan Hall Orchestral Concerts : organist at con- 
certs of the Boston Symphony Orchestra : organist of Trinity Church ; 
author of various essays on musical subjects, and composition for 
chorus and orchestra, and for orchestra ; translator of valuable works 
from the French. 

To THE President axd Members of the Class of 1909 : — 
Greetings and sincere good wishes from 


909 ♦♦♦ffijr latrttmr**^ 

James Cutler Dunn Parker 

R. PARKER was born in Boston in 1S2S. and comes of one of 
the oldest families. Althouorh educated for the law his interest 
in music led him to decide upon that a> his life work, and took 
him abroad for further study (1S51-1S54) at Leipsic, under Moscheles, 
Plaidy. Hauptmann. Reitz. Richter and others. On his return he was 
for thirtv-live vears org^anist at several Boston churches — for twenty-seven 
years at Trinitv Church. 

Mr, Parker has written much music, almost exclusivelv of a religious 
character. He was the first great American composer of large choral 
works, of which the most important are two sacred cantatas, '"The 
Redemption Hymn" and "St. John": a secular cantata, "The Blind 
King." and an oratorio, "Life of Man." As a teacher his influence has 
been widespread and profound. In the earlv seventies he was the leading 
instructor at the Xew England Conservatory of Music, and his pupils 
ahvavs excelled. For eighteen vears he has been the esteemed Class 
Inspector at the same institution. ^Mention should also be made of his 
scholarly translations from several different lanofuaores. of various son^s 
and of works on the theory and practice of music. 

To THE Class of 1909. its Officers and Members. I extend a most cordial 
greeting. As director of recital classes I come in contact with manv of the students, 
and am pleased to recommend them, and their work. Wishing each and everyone a 
most successful career, I am 


^ 22 ...gUc mtiwr... 1909 (T^ 


As when a player, wearj of the day, 

Takes up his instrument, and plays along, 
First aimlessly, until upon some song 

Heard long ago, his fingers find their way, — 

The old tune bringing memories which lay 

Deep buried in the past, once glad and strong. 
He feels again those joys around him throng, 

And weeps erewhile to think they cannot stay, — 

So I, aweary with the passing hours. 
In musing, fell upon the name of one, 

Now dead and gone, who once was dear to me. 
And recollections sweet as summer showers 

Came back, swift as the first faint gleams that run 
At dawn across a great grey waste of sea. 

— William Bartlett Tyler. 

To Sleep 

Come, goddess, with thy half-closed, dreamy eyes, 

And suffer me to breathe the fragrance sweet 
From thy red poppy flowers, and loose the ties 

That bind in unseen fetters waA-worn feet. 
Upon thy face, flushed like a cloud's soft crest. 

Now let me gaze, that I may share in part 
Thy drowsiness, and sink to peaceful rest, 

Relieving all my weariness of heart. 

Hold low thy tender flowers above my lips, — 
Aye, crush them, gentle one, until the wine. 
Craved for the dreams of blissfulness it yields. 
Like fragrant rain upon me lightly drips, 
And so I lose the light of earth's dim line. 
And view fair images in shadowy fields. 

— William Bartlett Tyler . 

Josef Adamowski, Violoncello; Ensemble 
Quartet Classes. 

Born in Warsaw, Poland. Educated in Warsaw 
Conservatory, and at the imperial Conservatory in 
Moscow under Fitzenhagen, N. Rubinstein and P. 
Tschaikowsky. There he pursued his college studies, 
and graduated with a diploma, a silver medal and the 
degree of Bachelor of Arts. Member of the Conserva- 
tory Faculty since 1903. 

TiMOTHEE Adamowski, Violin. 

Born in Warsaw, Poland, 1858. Studied in Warsaw 
Conservatory with Kontski, then in Paris Conserva- 
tory with Massart. Traveled from 1879 till 1884 
through the United States. In 1884 joined Boston 
Symphony Orchestra. Second Concert-meister till 
1907. Played as soloist with London Philharmonic 
Society in London in 1900. also with Colonne Orches- 
tra in Paris, 1901, besides as soloist in Poland and 
England. Joined New England Conservatory in 1907. 
Member of the Adamowski Trio. 

EsTELLE T. Andrews, Pianoforte. 

Born in Baltimore, Md. Graduate of the Peabody 
Institute Conservatory of Music, Baltimore, Md. ; 
pupil of Carl Faelten and Helen Hopekirk, Boston. Anthony, Pianoforte. 

Born in Providence, R. I. Studied five seasons under 
Leschetizky in Vienna. Played four seasons in public 
in recital, and with various organizations such as the 
New York Philharmonic Orchestra, Kneisel Quartet, 
etc. Also made extensive tour in 1906-7 with Madame 
Nordica. Member of the Conservatory Faculty since 
September, 1908. 

Artiii'r Dwigiit Babcock, Voice. 

Born in Dudley, Mass. Studied at San Diego, Cal., 
and was graduated from the New England Conserva- 
tory in 1903, under Mr. Charles A. White. Studied 
with Mme. Ratclifte Caperton. 

Cari. Baermann, Pianoforte. 

Born in Munich. Pupil of Wanner and Wohlmuth, 
later of Liszt; studied Composition with Lachner. 
Was appointed instructor in Munich Conservatory, 
but decided to settle in Boston, where he came in 
1881. He has tovu^ed extensively as a concert pianist, 
and is a teacher of international reputation. 

George W. Bemis, Guitar and Mandolin. 

Born in Boston. Studied with his father ; teacher at 
the New England Conservatory for the past twenty 

E. Charlton Black, Literature Lectures. 

Born in Liddlesdale Parish, Scotland, near the Old 
Manse of Sir Walter Scott. Graduated from Edinburgh 
University in the same class with J. M. Barrie ; re- 
ceived LL.D. from Glasgow University; now Pro- 
fessor of English Literature in Boston University. 



Da\'id S. Blaxpied, Pianoforte and Theory. 

Born in Galena, Ohio. Graduated from the New 
England Conservatory, also from the College of 
Music of Boston University. Received the degree of 
Mus. Bac. Studied with J. C. D. Parker, S. A. Emery, 
George E. Whiting; Composition with William Ap- 
throp and J. K. Paine; Voice with John O'Neil and 
Harry Wheeler. Has published compositions for piano 
and voice. 

Arthur Brooke, Piute. 

Born at Gomeral, England. Studied under Packer of 
the Scotch Orchestra; came to America in i8S8 : 
played first Flute with the Buffalo Symphony Orches- 
tra, and joined the Boston Svmphony Orchestra in 

Samuel W. Cole, Solfeggio aiid Music i?i 
Public Schools. 

Born in Meriden, N. H. Pupil of S. B. Whitney and 
John W. Tufts, and at the New England Conservatory. 
Author of musical text-books. Conductor of People's 
Choral Union of Boston. Director of Music in the 
public schools of Brookline since 1884. 

Benjamin Cutter, Haniiony and Composition. 

Born in Woburn, Mass. Studied under G. F. Such. 
Julius Eichbergand Stephen Emery in Boston : Violin 
with Singer, Harmony with Goetschius, and Instru- 
mentation with Max Seifriz in Stuttgart. Has written 
several standard text-books ; composed extensively, 
especially for strings. 

Floyd Bigelow Dean, Pianoforte. 

Born in Richville, N. Y. Pupil of Adrien Sabourin. 
Graduated from the New England Conservatory 
of Music, after studying under A. K. Mrgil, H. S. 
Wilder, Dr. J. A. Jefferj, Louis C. Elson, Ben- 
jamin Cutter, Samuel Cole, Charles Dennee, Wallace 
Goodrich, Josef Adamowski, F. Addison Porter, C. 
Lenom, Frederick Schormann. A member of New 
England Conservatory Orchestra. 

Lucy Dean, Pianoforte. 

Born in Illinois. Graduated from the New England 
Conservatory in 1891 ; pupil of Dr. Maas, Mrs. Maas 
and Carl Faelten of Boston ; Leschetizky in Vienna, 
and Buonamici in P'lorence. 

Charles Dennee, Pianoforte and Piaiioforte 
Sight Playing. 

Born in Oswego, N. Y. Studied Piano with A. D. 
Turner and Madame Schiller, Harmony and Composi- 
tion with Stephen Emery ; special study of Beethoven 
with von Billow dviring his last trip to America ; has 
toured extensively as a concert pianist, appearing in 
over one thousand concerts previous to 1895. Teacher 
at the Conservatory since 1883. A composer of note. 

Alfred De Voto, Pianoforte. 

Born in Boston. Graduated from the New England 
Conservatory in 1898 vinder Charles Dennee. Member 
of the Municipal Music Commission of Boston since 
1898. Pianist of the Longy Club of the Boston Sym- 
phony Orchestra. Has toured the country in recitals 
and as soloist with the Boston Festival Orchestra. 

ffljr Jttumt... 1909 

Henry M. Dlxham, Org^an. 

Born in Brockton. Mass. Studied Organ at the New 
England Conservatorv of Music under Whiting: 
Counterpoint, principally with J. K. Paine. A well- 
known composer of vocal and instrumental forms : 
church organist of wide reputation. 

William Herbert Dunham, J'o/ce. 

Born in Brockton, Mass. Pupil of Augusto Rotoli and 
Dr. Guilmette. Boston : Shakespeare, London : Van- 
nuccini, Florence : Koenig and Sbriglia, Paris ; Co- 
togni, Rome; Benevenuti, Milan. 

Loris C. Elson, Theory. 

Born in Boston, Mass. Studied Piano with August 
Hamann of Boston : Voice with August Kreissman : 
and Composition with Carl Gloggner-Castelli of Leip- 
sic. A celebrated lecturer and writer on musical sub- 
jects; one of Boston's best-known critics. 

Oliver C. Faust, Pianoforte and Organ 

Born in Pennsylvania. Entered the New England 
Conserv atorv in iSSi : studied Piano under J. C. D. 
Parker: Organ, Henry M. Dunham: Harmony, 
Stephen Emery; Voice," A. W. Keene : and Tuning. 
Frank W. Hale. Author of the text-books. The Piano- 
forte Tuner^s Pocket Companion and A Treatise on 
the Construction^ Repairing and Tuning o f the Organ. 

Armand Fortin, Voice; Superintendent of 
Vocal Normal Department , 

Born in Oxford. Mass. Graduated from the New 
England Conservatory in 1S95, under William L. 
Whitney. Studied also with Vannuccini, Florence. 
Head of Vocal Normal Department. 

Jane M. Foretier. Pianoforte. 

Born in France. Graduated from the New England 
Conservatory of Music in 1S98; became a member of 
the Faculty in 1907; began teaching Piano in connec- 
tion with post-graduate work. 

George L. Gardner, Tuning. 

Born in Oswego, N. Y. Graduated from the New 
England Conservatory in 1890, and has been con- 
nected with the institution since that time. 

Clayton D. Gilbert, Concert Deportment . 

Born in Wisconsin. First studied under Mrs. Scott 
Siddons, afterwards in Chicago. New York and Paris. 
On the stage with several companies. Studied Con- 
cert Deportment under Messrs. Miller and Adams, 
Chicago. Instructor in acting and pantomime at 
Emerson College of Oratory. For four years a mem- 
ber of the Faculty of the New England Conservatory 
of Music. »rutnc. 1909 C7^ 

Henry M. Goodrich, Pianoforte. 

Born in Haverhill, Mass. Studied Piano in Boston 
with Edward MacDowell, 1S89-1896. Became a mem- 
ber of the Faculty New England Conservatory in 
September, 1908. 

Eugene Gruenberg, Violin; Superintendent 
of Violin Normal Department. 

Born in Lemberg, Galicia. Pupil at Vienna Conserva- 
tory, of Heissler, Violin ; Bruckner and Dessoff, Com- 
position ; and Hellmesberger, Chamber and Orchestra 
Music. Has played for the last twenty-five years un- 
der the world's greatest conductors. Head of Violin 
Normal Department. 

Albert Hackebarth, French Horn. 

A member of the Boston Symphony Orchestra. Was 
born in Berlin, Germany, and studied French Horn 
under August Riedel and Prof. Carl Schunke of the 
Konigliche Hoch Schule in Berlin. Later he traveled 
in Europe, especially in Russia, and in 18S0 came to 
this country. He was engaged by Theodore Thomas 
of New York, and later by the Boston Symphony 
Orchestra, of which he has been a member for twenty- 
two years. Teacher in the New England Conservatory 
since 190S. 

. Frances A. Henay, Hand Culture, 

Born in Boston. Studied Physical Culture with Dr. 
D. A. Sargent of Cambridge, and Baron Nils Posse 
of Boston. Has taught in New England Conserva- 
tory since 1889. 

HoxMER C. Humphrey, Organ. 

Born at Yarmouth, Me. Received early musical edu- 
cation under E. A. Blanchard of Yarmouth; later 
studied Organ with Wallace Goodrich ; Composition 
with G. W. Chadwick ; graduated from the New Eng- 
land Conservatory in the years 1901 and 1902. 

Percy F. Hunt, 'Voice. 

Born in Foxboro, Mass. Graduated from the New 
England Conservatory of Music under William H. 
Dunham. Lived abroad three years, studying two 
years under Vannuccini in Florence, and one year 
with Bouhy in Paris. Made a concert tour through 
the United States. 

J. Albert Jeffery, Pianoforte. 

Born in Plymouth, England. Educated at the Leipsic 
Conservatory vmder Reinecke, Wensel, Richter dnd 
Jadassohn ; studied in Paris with Ferdinand Praeger ; 
Organ and Church choir work in London with Roland 
Rogers, Sir George Martin of St. Paul's Cathedral and 
Luard Selby of Rochester Cathedral. Has written 
piano compositions of merit. 

Le Roy S. Kenfield, Trombone. 

Born in Belchertown, Mass. Toured extensively with 
opera companies ; two seasons with the Stetson 
Opera Company ; three seasons with the Boston 
Ideal Opera Company; two seasons with the Emma 
Juch Opera Company ; now member of the Boston 
Symphony Orchestra. 

^ ...g^r meuwc. 1909 C7^ 

Edwin Klahre, Pianoforte. 

Born in New Jersey. Studied under O. Klahre ; later 
pupil of Liszt, Lebert and Joseffy in Piano ; Com- 
position with Schulze in Weimar, Bruckner and 
Goetschius in Stuttgart. 

Louis Kloepfel, Cornet and Trumpet. 

Born in Thuringia. Has appeared as soloist in all the 
principal cities of Europe, and held important posi- 
tions in court orchestras ; in 1891 he was engaged by 
Damrosch as First Trumpet in New York Symphony 
Orchestra; he was tendered position of First Trumpet 
at Court Opera House, Berlin, but chose to accept 
position in Boston Symphony Orchestra. 

Max O. Kunze, Double Bass, 

Born in Dresden. Graduate of Royal Conservatory 
of Music ; played as principal bass in the Warsaw 
Symphony Orchestra; later was a member of von 
Billow's Orchestra, with which he came to America ; 
engaged by Emil Paur of Boston Symphony Orchestra 
in 1894 ; has taught at the New England Conservatory 
since 1899. 

Clemont Lenom, Solfeggio and Oboe. 

Born in Gilly, Belgium. First prize in Oboe and 
Superior Solfeggio, Brussels Conservatory; studied 
with Massenet; taught Solfeggio in the Normal 
School of Music in Paris ; conducted orchestra at 
Geneva, Rouen and Aix les Bains ; established last 
year at the New England Conservatory a course in 
French Solfeggio, which is practically new in America. 



Frederick L. Lixcolx. Pianoforte. 

Born in Massachusetts. Graduated from the Xew 
England Conservatory in iSSi : studied under J. C. D. 
Parker. A. D. Turner, Carl Baerniann, Carl Faelten 
and Stephen Emery. 

Carl F. Ludwig, Tympani ajid Drums. 

Born in Dresden. Germany. Studied with C. R. Lud- 
Avig: came to America in 1S90; member of the Boston 
Symphony Orchestra for three years : also member of 
Boston Festival Orchestra and Municipal Band. 

Emil Mahr. Viol 1)1. 

Began his study of Violin with Joachim in Berlin in 
1S70; played as one of the first violins in the Wagner 
Festival at Bayreuth in 1S76 : spent several years in 
London as solo violinist and conductor : came to the 
New England Conservatory in 1SS7. 

Clara Tourjee-Xelsox. I'oice. 

Born in Rhode Island. Graduated from the New 
England Conservatory of Music : studied Voice with 
Augusto Rotoli. Mr. and Mrs. John O'Xeil and Sarah 
Fisher : Opera School work with Samuel J. Kelley ; 
also pupil of G. W. Chadwick and A. D. Turner. 



Carl Peirce, J'io/ifi. 

Born in Taunton, Mass. Studied six years with Lean- 
dro Cainpanari ; a director, and for nine years in 
charge of the violin department of the Boston Con- 
servatory: organized Municipal String Quartet of 
the city of Boston in 190S; has traveled extensively as 
solo violinist; a member of the New England Con- 
servatory Faculty since 1902. 

F. Addison Porter, Pianoforte ; Superintend- 
ent of Pianoforte Nornial Departme7tt. 

Born at Dixmont, Me. Graduated from the New 
England Conservatory in 1884, after a five years' 
course with A. D. Turner, Stephen Emery and George 
W. Chadwick : studied in Leipsic with Hoffman and 
Freitag ; has published a large number of composi- 
tions; head of Pianoforte Normal Departm.ent. 

Louis Post, Bassoon. 

Born in Pommerania, Germany. At an early age 
received instruction in \'iolin and Bassoon, playing 
from Herman Post, his brother, a musical director of 
note; later studied with Gasgisch of Berlin, and 
SchAvarz of Cologne: came to America in 1878, and 
has played thirteen years in the Boston Symphony 

George W. Proctor, Pianoforte. 

Born in Boston. Graduated from the New England 
Conservatory in 1S92 : pupil of Leschetizky in Vienna ; 
studied Composition with Nawratiland Mandyczewzki ; 
has had an extensive career as a concert pianist. 



Harry N. Redm-\x. Pianoforte, Harmony and 
Com position . 

Born at Mt. Carmel, III. Pupil of Gteorge W. Chad- 
wick: has composed a large amount of piano music 
and songs: also several violin sonatas, two string 
quartets and a quintet for piano and strings. 

Eustace B. Rice, Pianoforte and Solfeggio, 

Bom in Wavland. Mass. Afterward lived in Hudson. 
N. Y., where he studied Piano and Organ with Edwin 
C. Rowley, a Leipsic student. Studied Piano prin- 
cipally under Edwin Klahre and Carl Baermann ; 
Organ under George E. Whiting and Henry M. Dun- 
ham : Harmony and Composition under George E. 
Whiting and Dr. Percy Goetschius : Theory under 
Emery and Elson : Solfeggio under Cole. 

Clar.\ Kathleen (B.vrxett) Rogers, J'oice. 

Bom in Cheltenham, England. Educated in Leipsic 
Conservatory: Piano, under Moscheles and Plaidy: 
Voice, with IProfessor Goetze : studied Piano in Berlin 
under von Biilow : Voice, under Frau Zimmerman : 
also studied Voice in Italy under San Giovanni ; has 
published both vocal and instrumental music. 

Madame Augusto Rotoli. Italian. 

Born in Rome, and received early education partly in 
a convent in that city, and partly in a French school. 
She was a pupil of Signor Rotoli. with whom she 
studied singing. She came to America with her hus- 
band in 1SS5. a few weeks after her marriage, and has 
lived in Boston since that time. 

(f^ 36 ...Z'^t Wttumt,.. 1909 Cr^ 

Elizabeth 1. Samuel, Rhetoric^ Ejiglish a?id 
J^i story. 

Born in Bennington, 111. Graduate of Mt. Holvoke: 
took a medical degree ; special work at Boston 

SiLLivAX A. Sargent, J'oice. 

Born in Boston, Mass. While at schools in Germany 
and Switzerland his musical education was confined to 
the Piano. Later, in Boston, he studied the Voice 
with George L. Osgood. Charles R. Adams, George J. 
Parker, Myron W. Whitney and Charles A. White; 
also was a pupil of George W. Chadwick in Composi- 
tion. For a number of years he has taught, and been 
known as a church and concert singer, joining the 
Faculty in 190S. 

Clarence B. Shirley, Voice. 

Born in Lynn, Mass. Pupil of Charles A. White; 
aUo of Dubulle in Paris: has traveled extensively as 
soloist in the Eastern states : is one of the leading 
oratorio and concert tenors of New England. 

Harriet A. Shaw, Harp. 

At the age of thirteen Miss Shaw went to Dresden, 
Germany, for her musical education. Herr Carl 
Ziech. First Harpist of the Royal Dresden Opera 
House, was her master for four years. Afterward 
she studied with Adolph Lockwood. of the Royal 
Munich Opera: Aptommas : John Thomas, of the 
Roval Academy, London, and Harpist to the king: 
Signor Lorenzi of Florence, Italy: Alphonse Has- 
selmans, of the Conservatory of Paris. France; 
Harmony and Counterpoint with Hermann Kotz- 
schmar. George W. Marston. Frederick Field Bullard 
and Signor Tacchanardi. of the Florence Conserv- 
atorv of Music. Miss Shaw has also devoted much 
time and study, under the best masters, to the 
Piano, the Violin and to Singing, so that her 
musical education is an unusuallv broad one. 

Alice Mabel Stanaway, Voice. 

Born in California. Graduated from University of 
Nevada; graduated also from the New England Con- 
servatory of Music in 1898; pupil of Augusto Rotoli 
and Charles A. White, Boston ; DubuUe, Paris ; studied 
in Opera School under Oreste Bimboni. 

Carl Stasny, Pianoforte. 

Born in Mainz. Pupil of Ignaz Briill, Vienna; Prof. 
Wilhelm Kriiger, Stuttgart; Franz Liszt, Weimar; 
extensive career as concert pianist in Europe and 

Richard E. Stevens, Pianoforte. 

Born in California. Graduated from the New Eng- 
land Conservatory in 1904, under Charles Dennee; 
studied also with Buonamici in Florence, and 
Moszkowski in Paris. 

Anna Stovall Lothian, Pianoforte. 

Born in Mississippi. Attended Columbus College; 
graduated from New England Conservatory in 1895, 
under Carl Stasny; toured as concert pianist; Mr. 
Stasny's assistant for ten years. 

^ ^^^ - ...T'^t ntnmt... '909 (7^ 

Marie E. Treat, Pianoforte. 

Born in Ohio. Graduated from the New England 
Conservatory in 1900: pupil of Charles Dennee. 

Camille Thurwanger, French Language and 

Born and educated in Paris, where he resided until he 
came to Boston in 1884; the first part of his life was 
mainly devoted to Fine Arts and vocal music as an 
accomplishment; after his arrival in Boston he gave 
his time to teaching French. He has made a long and 
deep study of phonetics and musical pronunciation 
and articulation, generally included in the word "Dic- 
tion" ; is an authority on this subject. 

Pietro Vallini, Voice. 

Born in Florence, Italy, October 25, 1859, where he 
pursued his early musical education, studying piano- 
forte with his father, and Harmony and Counterpoint 
with Magi. First studied Composition with Mabellini, 
later with Scantrino at Milan. Has had a successful 
career as conductor, teacher and composer. 

A. Vannini, Clarinet and Voice. 

Born in Pescia, Italy. Began study of music at the 
age of eight years ; when fifteen years old studied 
Clarinet and Voice at Venice, where he graduated 
from the Conservatory in 1892 with the highest 
honors ; traveled over Europe and South America 
with prominent opera companies; settled in Boston in 
1896, giving private vocal lessons ; member of Boston 
Symphony Orchestra since 1900. 

Frank Watson, Pianoforte. 

Born in Rhode Island. Graduated from the New 
England Conservatory in 1905 ; pvipil of Dr. Jeffery 
and Edwin Klahre ; Composition with Mr. Chadwick. 

F. ^SIoRSE Wemple, Voice, 

Born in Albany, N. Y. Studied Voice with Charles 
A. White of Boston, DubuUe of Paris, and Henry 
Russell, Director of the Boston Opera Co. ; Baritone 
Soloist; well known as church and concert singer; 
makes a specialty of recital programs, in which he is 
eminently successful. 

CHARLf:s A. White, Voice. 

Born in Troy, [N. Y., where he studied Piano and 
Singing: went abroad in 1879; entered Leipsic Con- 
servatory, where he studied under Rebling and Grill ; 
continued \'oice study with Lamperti ; taught in Troy 
and Albany after returning home in 1882 ; organized 
the Troy Choral Club, which he conducted until 
called to the New England Conservatory in 1896. 

George Van Wieren, German. 

Born in Eddigehausen, near Gottingen, Germany. 
Graduated from University of Gottingen in 1877, with 
degree of Candidate of Theology; and from the 
Teachers' Seminary in Hanover in 1899; Instrvictor of 
German at Boston University; connected with Con- 
servatory since 1901. 

♦♦.glfte atrttwr^^. 1909 

H. S. Wilder, Pia?ioforte. 

Born in Worcester. Mass. Studied Piano with B. D. 
Allen, B. J. Lang and A. K. Virgil : Organ, Voice and 
Harmony with other teachers of note; has written 
songs, church music, etc. : conducted choruses, and 
has had as pupils many well-known pianists and 

Felix Wixterxitz, Violifi, 

Graduated from Vienna Conservatory under Griin. in 
the same class with Kreisler; winner of a gold medal; 
came to America and played two years with Boston 
Symphony Orchestra before touring the United States 
as soloist ; has been a member of the Conservatory 
Faculty since 1S99. 




Senior Class Officers 

Thomas Moss 
Elinor ]Markey 
Ella M. Potter 
WiLLL\M B. Tyler 
Florence D. Richey 

Vice President 
Assistant Treasurer 

itlottO : Labor omnia viiicit. 
Colors!: Royal purple and gold. 
JflofcoerSJ: Violets. 



Thomas Moss. " Mary''' 

83 Farnham Street, Lawrence, Mass. 

"/ atn 07ie of those gentle ones, who vjill treat the 
Devil hitnself ivith courtesy. 

Entered September, 1906. President of Class in both 
Junior and Senior years ; Member ex officio of all 
standing committees ; Second Vice President of 
Alpha Chapter, Sinfonia; Organist and Choir- 
master of Grace Church, Lawrence. Graduate in 
Organ under Wallace Goodrich. 

Ei.iNOR Markp:y. 

Frederick, ^Id. 

" She is eqitipped in body atid in mind ivith all good 
grace to grace a gentle -Moman.'" — Shakespeare. 

Entered September, 1906. Vice President of Class; 
Chairman of Emblem Committee in 1908; Mem- 
ber of Neume Board, 1909; President of Tennis 
Club; Contralto in South Evangelical Church, 
West Roxbury. Graduate in Voice under Charles 
A. White. 

Ella Marion Potter. ^''Potter.'" 
62 Star Street, Norwich, Conn. 

'"''There is no substitute for thoroughgoing, ardent 
and siticere earnestness.^' — Dickens. 

Entered September, 1906. Chairman Neume Com- 
mittee, 1908; Member Finance and Entertainment 
Committees, 1908; Secretary of Senior Class. 
Graduate in Piano under Frederick F. Lincoln. 

44 ^^r aatrUWe^^. 1909 

William Bartlett Tyler. ''''Plain-song 


66 Longwood Avenue, Brookline, Mass. 

'■''He knows about it all, he knoivs, he knoivs ! " — Omar 

Entered September, 1904. Treasurer of Senior Class; 
Corresponding Secretary of Alpha Chapter, 
Sinfonia; Member of Neume Board and Enter- 
tainment Committee; Chairman of Finance 
Committee. Graduate in Organ under Homer 

Florence D. Richey. '•''Dot'' 

Monticello, Ind. 

Brevity is the soul of zvit.'^ 

Entered September, 1906. Assistant Treasurer of 
Class in both Junior and Senior years ; Member 
of Emblem and Finance Committees, Junior year ; 
Member of Neume Board, 1909; Soprano at Bap- 
tist Church, North Cambridge. Graduate in 
Voice under Clara Kathleen Rogers. 

Louise Anderson. 

713 Taylor Street, Lynchburg, Va. 

" Thou art as loJig and lattk and lean 
As are the rock-ribbed sands.^'' 

— Coleridge. 

Entered September, 1905. Organist at Ebenezer Bap- 
tist Church since 1907. Graduate in Piano under 
Frederick F. Lincoln. 

Daisy Mertox Arnold. '"Daise.'' 

Wickford, R. I. 

••/ omgkt to iaz-e my azi-m ZLay im exrcrythimg : and 
■s:kafs more. I zi ilL too.'' — Sheridan. 

" Another flood of -srords, 
A z-ery torreut.'' — Don Quixote. 

Entered September. 1901, re-entered September. 1905. 
Member of Entertainment Committee in Junior 
vear; Chairman of Entertainment Committee 
latter half of Senior jear; Member of Xeume 
Board. 1909. Has large class of pupils in Wick- 
ford, R. I. Graduate in Piano under Carl Stasn v. 

Birdie ^L\rguerite Alstixe. "Bird." 

104 Amanda Street. Joplin, Mo. 

^' Semtimemtally I am disposed to harmony, bmt or- 
ganically I am incapable of carrying a tune." 
— Lamb. 

Entered September, 1907. Graduate in Piano under 
J- Albert Jettery. 

Anita Karin Bagge. 

Atherton Street, Milton. Mass. 

"Eyes -scith the same bine zx-itchery as those of 
Psyche.'' — Italian. 

Entered September. 1905. Member of Finance and 
Emblem Committees during Senior rear. Gradu- 
ate in Piano under J. Albert Jetterj. 

^ ..glirmmnc^.. I909 Cr^ 

Bertha Baumaxn. 

720 Lyon Street, New Orleans, La. 

'''' ThinkiTig- is but an idle vjaste of thought. — Smith. 

Entered September, 1905. Graduate in Piano under 
Carl Baermann. 

Adah Dell Bowex. 

Broken Bow, Nebraska. 

In youth and beatity, ivisdotn is but 7'are.^' 

Entered September, 1905. Member of Entertainment 
Committee in Senior year. Graduate in Piano 
under Edwin Klahre. 

Viola Tillixghast Brown. " K/." 

83 State Street, Bristol, R. I. 

" Were man but constant., he ivere perfect.^' 

Entered September, 1905. Member of Finarce and 
Entertainment Committees, Junior year; Member 
of Entertainment Committee in Senior year. 
Graduate in Piano under Alfred De Voto. 

LiLA Gabrielle Byrne. Byrnsy.'' 
64 Beaver Street, New Britain, Conn. 

'•'•Rare coinpouiid of oddity ^ frolic a?id fu7i, 
To reli~<// a Joke and rejoice at a pun.'''' 

— Goldsmith. 

Entered February, 1905. Member Emblem Commit- 
tee in Junior year. Graduate in Voice under 
Armand Fortin. 


Nancy Galbreath Campbell. 

Delaware, Ohio. 

'•'•She is a scholar and a rife and good one.'''' 

Entered September, 1907. Member of Entertainment 
Committee in Senior year. Graduate in Piano 
under Charles Dennee. 

Margaret Jane Carruthers. 

59 Edison Street, Quincy, Mass. 

" We shotild desire a better knowledge of you. 

Entered September, 1904. Graduate in Piano under 
Carl Baermann. 

^^^T^t Wl^tUmt^^^ • 1909 

Millie Maria Cordes. 

298 Hudson Street, Buffalo, N. Y. 

" Thoii art as chaste as an icicle.^'' 

Entered September, 1905. Graduate in Piano under 
George Proctor. 

Florence Dolores Coughlax. ^'^ Fatty, 

82 Fenwood Road, Roxbury, Mass. 

'■'■Let the zvorld slide, let the zvorld go, 
A fig for care, and a fig for tvoe. " 

Entered February, 1904. Soprano soloist in St. 
Michael's P. E. Church, Milton, Mass. Graduate 
in Voice under Charles A. White. 

Tura Davidson. 

93 Gainsboro Street, Boston, Mass. 

^'Hoxv many fine people there are in this world 
If you only scratch them deep enough.'''' 

— George Ade. 

Entered September, 1903- Member of Finance Com- 
mittee in Senior j'ear. Graduate in Piano under 
J. Albert Jeffery. 

1909 ^^^Z^t Mtnmt^^^ 49 

Charles Henry Doersam. Boscoe.'" 
804 Webster Avenue, Scranton, Pa. 

Entered September, 1907, First Vice President of 
Alpha Chapter, Sinfonia; President of New 
England Conservatory Athletic Association ; 
Editor-in-Chief of Keume Board, 1909; Mein- 
ber of Entertainment Committee. Senior vear ; 
Organist and Director at Second Church, Dor- 
chester, Mass. Graduate in Organ under Wallace 

Cleora Luraine Farr. 

DeKalb Junction, N. Y. 

" / 9iever Jiiie7V so yojiug a body ii'itJi so old a /tead." 

Entered February, 1904. Graduate in Piano under 
Frederick F. Lincoln. 


50 ^^^Z^t l^tumt.^^ 1909 

Constance Freeman. '•^ Conny." 

Yarmouth, Me. 

" Thus formed by iia/nre, fnniislied out zvi't/i ar/. 
She glides nnfell iuto your secret heart.'''' 

— Drvden. 

Entered September, 1906. Chairman of Entertain- 
ment Committee in Junior year and first half 
Senior j'ear : Member of Finance Committee in 
Junior year; Member of Neumk Board and Enter- 
tainment Committee in Senior year. Graduate in 
Piano under Alfred De Voto. 

Elizabeth Hill Gillett. 

Sharon, Conn. 

" I knoxv not -why I am so sad^ 

Entered February, 190^. Graduate in Piano under 
Charles Dennec. 

Elizabeth Morrison Haire. " Betty,'' 

52 Division Street, Newport, R. I. 

" Divinely tall and most divinely fair.'''' — Tennyson. 

Entered September, 1906. Member of Emblem Com- 
mittee in Senior year. Graduate in Piano imder 
Charles Dennee. 

Mary Lorene Hare. 

909 Chestnut Avenue, Altoona, Pa. 

^^She ceased, but left so pleasing oti their ear 
Her voice, that listening still they seem to hear^ 

— Odjssey. 

Entered September 1905. Secretary of Class in Junior 
year; Member of Neume Board in Senior year; 
Soprano Soloist in Dudley Street Baptist Church. 
Graduate in Voice under Clarence B. Shirley. 

Leta Jessie Haskell. Hask'' 

23 Greenleaf Street, Augusta, Me. 

" And still they gazed, and still the wonder grew. 
That one small head could carry all she knew." 

— Goldsmith. 

Entered September, 1905. Member of Finance Com- 
mittee in Senior year. Graduate in Voice under 
Charles A. White. 

Lu Ethel Hewitt. " Z//.'* 

97 Clinton Ayenue, Kingston, N. Y. 

" // would talk ! Lord, how it would talk ! " — Beau- 
mont and Fletcher. 

Entered September, 1903, re-entered February, 1907. 
Member of Finance Committee in Senior year. 
Graduate in Piano under Charles Dennee. 



Mrs. Mabel M. Holmes. 

io8 University Road, Brookline, Mass. 

" S^e wears the rose of youth upofi her.'^ 

Entered April, 1906. Graduate in piano under Charles 

Fay Hostetter. Peggy.'''' 

Denver, Col. 

" And really she had a most delicate air.^^ 

Entered September, 1905. Member of Neume Board. 
Graduate in piano under Edwin Klahre. 

Ruby Ethel Jennings, 

Rockwell, Florida. 

Sweet, grave aspect." 

Entered September, 1904. Graduate in piano under 
J. Albert Jeffery. 

Charles Peter Jochem. 

1 109 Vermont Street, Quincj, 111. 
" r II speak in a 7nonstrous little voice. 

Entered September, 1906. Artist for Junior Neume 
Board. Graduate in Piano under Carl Stasny. 

Florence Minnie Jepperson. "y^/." 

Provo, Utah. 

Her voice -was ever soft., ge7itle and low." 

Entered October, 1906. Member of Emblem Committee 
in Senior year. Contralto soloist in Harvard 
Church, Brookline, Mass. Graduate in Voice under 
William H. Dunham. 

Lloyd Granville Kerr. Loidy^ 

614 West 3rd Avenue, Corsicana, Texas. 

" Wise in his oivn conceit.^'' 

Entered September, 1905. Member of Emblem and 
Neume Committees in Junior year; Member of 
Emblem Committee in Senior year; Tenor, Verdi 
Mixed Quartet of Boston ; Tenor in North Avenue 
Baptist Church, Cambridge, Mass. ; Member of 
Alpha Chapter, Sinfonia. Graduate in Voice under 
Percy F. Hunt. 

♦♦.giftc Hfmt<g«>« '909 (J^ 

Majorie Kneeland. 

970 Park Place, Brooklyn, N. Y. 

"/'w always tti kas/e, but never in a hurry.'''' 

Entered September, 1906. Member of Finance Com- 
mittee in Senior year. Graduate in Piano under 
Carl Baermann. 

Howard Wilder Lyman. 

39 Newtonville Avenue, Newton, Mass. 

^^Born for success he seemed^ 

With grace to win, with heart to hold, 

With shiniyig gifts that took all eyes.'^ — Emerson. 

Entered September, 1907. Tenor of West Newton 
Congregational Church; Teacher of Voice in Mt. 
Ida School for Girls, Newton, Mass. Graduate in 
Voice under Armand Fortin. First president of class, 
1909. Secretary to the Dean of the Faculty. 

Gertrude Louise Martin. 

69 Huntington Avenue, Marlboro, Mass. 

'■'■So wise, so young, they say, do fiever live long.'''' 

Entered September, 1935. Member of Entertainment 
Committee in Senior year. Graduate in Piano under 
J. Albert Jeffery. 

Agnes Kennedy McLean. 

I Wilkins place, Roslindale, Mass. 

^'Give every man thine ear., but few thy voice.'"'' 

— Shakespeare. 

Entered September, 1905. Member of Finance Com- 
mittee in Senior vear. Graduate in Piano under 
Alfred DeVoto. 

Seviah Amy Meloon. 

75 Quincj Street, Medford, Mass. 

"il/y mail's, as true as steel." 

Entered September, 1904. Member of Finance Com- 
mittee in Senior year. Graduate in Piano under 
Charles Dennee. 

Catherine Montgomery. ''''Cathy.'" 
Bacon Street, Natick, Mass. 

'•''A blithe heart maketh a blooming- visage." 

— Proverbs. 

Entered September, 1905. Member of Emblem Com- 
mittee in Senior jear. Graduate in Piano under 
George Proctor. 

T'^tntumt... '909 (T^ 

Ruth Hayward Xourse. 

Barre, Mass. 

Ttidustry t's the farent of success.^* 

Entered September, 1905. Graduate in Piano under 
Charles Dennee. 

JoHX Edward O'Brien. 

Bank Street, Ansonia, Conn. 

" Genteel in personage, 
Conduct and equipage ; 
Noble by heritage, 
Gerierous and free." 

— Carey. 

Entered September, 1904. Graduate in Piano undei 
Alfred De Voto. 

Eva Wellman Osborne. 

181 Allen Avenue, Lynn, Mass. 

" Upi up! my frietid, and quit your books. 
Or, surely, you'll grow double." 

Entered September, 1905. Graduate in Piano under 
Charles Dennee. 

Gladys Li\ ixgstox Olmstead. 

7 Ivj Street, Brookline, Mass. 

'■'■Let the singing singers 

With vocal voices inost vociferous. 
In svceet vociferatiofi oict-vociferize 
Even sound itself. ' ' — C are j . 

Entered September, 1935. Member of AXfi Sorority. 
Graduate in Voice under Charles A. White. 

Lucy Agxes Parent. 

6 Kendall Street, South Framingham, Mass. 

^^Cofitent to follow zvhen ive lead the xvay.'' 

Entered February, 1905. Graduate in Piano under 
Charles Dennee. 

Belle Patterson. 

Rochelle, 111. 

^'A close mouth catches no /lies." 

Entered September, 1906. Member of Emblem Com- 
mittee in Senior year. Graduate in Piano under 
Charles Dennee. 




IIazki. Cakmen Pmi.Mi's. ''''Haze.'' 

90 Bowman Street, Laconia, N. H. 

Would ske -were fatter:' 

Entered September, 1906. Member of <l> M F Sororitv; 
Member of Xeume Board and Entertainment 
Committee, and Chairman of Emblem Committee 
in Senior year. Graduate in Piano under Charles 

IlENin Josp:ph S]ia\dp:lle Porter. 

417 Massachusetts Avenue, Boston, Mass. 

'■'Mother^ mother, mother pin a rose on me.'''' — Song. 

Entered September, 1906. Member of Conservatory 
Orchestra. Graduate in Violin under Emil Mahr. 

LiLLiE E.M.MA Reed. 

Woodstock, Vt. 

"><4.« bright and of en-faced as yonder sun." 

Entered September, 1905. Graduate in Piano under 
Charles Dennee. 

Teodilo Sanchez. 

64 Cuarire Street, Cienfuegos. Cuba. 

^'Secre/ and self-contained — and solitary as an 
oyster. ' ' — Holmes. 

Graduate in Piano under Alfred De Voto. 

Mildred ian Shurtleff. "Jfi66y,^' 
West Stewartstown. X. H. 

Happy am I ; from care I^m free. 
Wky ain't tkey all contented like me ? '* 

Entered September. 1906. Member of 4> M T Sorority : 
Member of Board : Entertainment and 
Emblem Committees during Senior year. Gradu- 
ate in Piano under Charles Dennee. 

Harry Miltox Sxow. 

4029 Brant Street. San Diego, Cal. 

•-4 lion amon£^ ladies is a most dread fu/ fhifi^." 

— Shakespeare. 

Entered September. 1904. Member of Xeume Board 
during Senior year; Choirmaster Harvard Street 
M. ET Church." Cambridge. Mass. Graduate in 
Voice under Charles A. White. 

♦.gj&e »rum^..^ I909 

ViR(;ixiA Stickxey. 

II Wareham Street, Medford, Mass. 

'^As merry as the day isloiig.^'' 

Entered September, 1904. Member of Conservatory 
Orchestra. Graduate in Moloncello under Josef 

Harriet May Sweet. Sweety 

350 Broadway, Everett, Mass. 

'"''Here, ioOf dvj ells simple truth and plain in7iocence.'''' 

— Thomson. 

Entered September, 1906. Graduate in Piano under 
Carl Stasny. 

Van Dexmax Thompson. 

Wilmot Flat, X. H. 

" What's in a name — Shakespeare. 

Entered September, 190S. Graduate in Piano under 
Charles Anthony. 


Julia Axtotxette Vax Cleve. "To?2y.'' 

411 Huron Street, Yp^ilanti. Mich. 

hard and earue^t -vorker.^'' 

Entered September, 1906. Member of Conservatory 
Orchestra. Graduate in Violin under Felix 

Edna Margaret Walsh. Dottv." 
156 Elm Street, Albany. N. Y. 

'■'■The hatid that hath made you fair hath made you 

Entered September. 1907. Member of $ M F Sorority : 
Member of Entertainment Committee during 
Senior year. Graduate in Piano under Carl 

Amy Lee Ward. 

Buckland, Mass. 

'•'Honest labor bears a lovely face. 

Entered September, 1906. Graduate in Piano under 
J. Albert Jeffery. 




Charlotte Whinerv. 

Marshalltown, la. 

)'ou look zi'ise — pray correct that error.'' — Lamb. 

Entered September, 1905. Member of Entertainment 
Coinmittee during Senior ^ear. Graduate in 
Piano under J. Albert Jettery. 

Lawrence Whitcomb. '-'-Pritzy 

121 Harlow Street, Bangor, Me. 

'■He that hath a beard is more than a youth ! " 

Entered September, 1905. Member of Conservatory 
Orchestra. Graduate in Oboe under Clement 

Joseph Herbert \ViLLi-\:^is. '-'•Joey 

23 West Street. Fitchburg, Mass. 

For e'en tho" vanquished he zvould argue siill.'^ 

— Goldsmith. 

^^None but himself can be his parallel.^' 

Entered September, 1905. Treasurer of Class; Chair- 
man of Finance Committee and Member of Enter- 
tainment Committee during Junior year ; Member 
of Entertainment Committee during Senior year. 
Graduate in Piano under Alfred De Voto. 



Hazel Edna Wyman. 

41 Centre Street, Winthrop, Mass. 

'■'■Early^ bright^ iranstejit, chaste as mornmg dew 
She sparkled.^'' 

Entered September, 1903. Graduate in Piano under 
Edwin Klahre. 


Far in the East, where sea with sky line merges, 
And blend the light and wave in sweet accord ; 

Where ocean's waters roll with crested surges. 

Blown by the fresh, strong eastern wind, their lord, — 

The day-dawn scatters with her gladdening glances 
The gloomj' cloud-mists of the lingering night, 

And floods the cold, grey water's broad expanses 
With dazzling gleams of golden, trembling light. 

League after league of restless ocean reaches, 

With tireless feet she swiftly hastens o'er. 
Filling with joy the old earth's cliffs and beaches. 

That stretch away an endless winding shore. 

Awakening birds upon their snowy pinions. 

Like flecks of sea-blown foam thrown in the air. 

Circle their flight along the sea's dominions, 
Triumphant that the dawn again is there. 

— William Barilett Tyler. 



Senior Class History 

^^^^^-^PIE achievements of this class up to June, 1907, can be found 
■ ^ J faithfully recorded in last year's Xeume. As our predecessors, 
^^^^ the ** 08-er's," originated the idea of having a Junior concert, we, 
happv to presene such a good custom, found that among our members 
were many whose ability was such that a very pleasing program could be 
arranged. So, after the participants had been selected, we chose the twelfth 
of June for the date, and a very successful concert was the result. Each 
performer acquitted himself admirably, which fact reflected much credit 
on themselves, and of course on the class as a whole. 
The program was as follows : — 

Orgax — Andante sostenuto from Symphonic Gothique . Wi'dor 


Pianoforte — Concerto in F minor (last movement) . Chopin 

(MR. CARL STASNY at the sccond pianoforte.) 

SoxG — Arioso (Canio) from Pagliacci .... Leoncavallo 


PiAXOFORTK — a. Un Sourire ...... Schuett 

b. La Cavilier Fantastique . . Godard 


SoxGS — a. Canzonetta 

b. The Year's at the Spring 



Mrs. H. H. A. Beach 

Clarixet and Pianoforte — Rondo Final from Duo 
Concertant, Op. 47 ...... 


Pianoforte — a. Rhapsodic in G minor .... 

b. Intermezzo in Octaves .... 

MISS ELLA potter 

Song — Mv Abode ........ 


Organ — Finale from Second Symphony .... 


von Weber 



Examinations for entrance into the Senior Class came about the 
fifteenth of June, instead of the following October, as had heretofore been 
the case, so when we disbanded for the summer we had the comforting 
thought that immediately after registering in the fall for the new session we 

could reorganize our class. 

19G9^r Ifriifflr^.. 63 

Therefore, the tirst Thursday in October found us in the Gym/* 
wliere. after being addressed by our Director, who generously offered us 
much help and advice, we proceeded to reorganize, and. after reviewing 
our strength and •• ammunition." prepared to resume •• hostilities." 

Class spirit — which, by the way, is synonymous with the "Class of 
'09 " — manifested itself at once. The first thing we planned to do was to 
meet and get acquainted with the new Juniors, and on the eleventh of 
November. 190S. we gave them a reception, which was held in Recital 
Hall. This event proved a most happy one, and greatly helped to further 
the friendly relations between the classes. 

It was not long after this that we received an invitation to attend a 
reception given in our honor by the Sinfonians. on Monday. November i6th. 
This favor was much appreciated by us. and as for the outcome of the 
event a description is unnecessary, for anything wliich Sinfonians do is 
sure to be successful. 

Our entertainment committee — which, by the way, deserves special 
mention — announced that a series of subscription dances would be given 
by the class, the dates selected for these being January- i^th, February i :;th 
and April 16, 1909. The first dance was not as largely attended as we 
would have liked, owing:, no doubt, to the fact that it was cnven during 
the period of mid-session examinations, and was too near the date of the 
Costume Carnival. However, fully forty couples attended our second 
dancing partv. and it terminated into a more than successful affair. 

Several novelties were introduced, among them the Affinitv Dance" 
(some clever ••matches" were made — ask some of our guests), and the 
" Moon Dances," the popularity of which was due to the efforts of our 
volunteer electricians, who attended strictly to all the details : namely, the 
turnincr out of licrhts, leavincr "nothin' lookin' but the man in the moon," 
while we whirled around to the dreamy strains of a waltz. 

The third dance outshone all previous events. We heard manv regrets 
that it was the last one to be cjiven bv us this vear. 

On March 12th we invited Sinfonia. in return for the honor thev had 
previously done us, to be our guests, and — well, just ask any Sinfonian 
about it. 

As for the '09 Neume. I think we had best let it speak for itself. It 
is successful. It is crood. It *• ^oes." Why? Well, the efforts of the 
Neume board to make it an ^-A one " publication have been unceasing, 
and then, too, we have had the hearty co-operation of our friends and of 
the Junior Class. 

In June we shall graduate, and become members of that energetic 
Alumni Association. Then shall we alwavs be in readiness to do anvthing: 
in our power in the interests or our •• Alma Plater." 

Her memory will be forever with us, and our pride in her achieve- 
ments always growing. f. h. 

66 ♦♦♦g^e la^ruWC^^^ 1909 

Phil osophy of the Class of 1 909 

"Study only the best, for life is too "Truth as the only incentive shapes 
short to study everything." life's course into one grand harmony." 

" Happiness is the aim of life." 

"Be cheerful — smile and radiate hap- (D J7 

piness as you walk along life's highways e^-^-'w*-''''^^?. 
and b\'wavs." 

"Unless you ring the bell you are only 

0.9^ »^n less you ring me 

.^W^ U.-^.^^ . ^sting your powder." 

"If your work is only good enough, 
all other questions answer themselves." 

" Self-reverence, self-knowledge, self- 
control — these three alone lead life to 
sovereign power." 

"We live by what we think, by what ..^rust men, and thev will be true to 

we feel and by what we do. He most ..^^ . ^^^^^ ^^em greatly, and they will 

lives who thinks most, teels noblest and ^^ow themselves great." 
acts best." 

"It is music's lofty mission to shed 
light on the depths of the human heart." 

"The pleasure a 'musically educated 
cook ' gets from artistic playing or sing- 
ing is no greater than the joy a star feels 
having tasted of artistic cooking." 

"Music — God is its author, and not 
man. He laid the key-note of all har- 
monies, and he made us so that we could 
hear and understand." 

"The best prayer a man can offer in 
the morning is that he may not lose the 
opportunity of the day." 



"All one's life is music if you touch "Life may be long or short, but we 

the keys rightly, and in tune." 

can make it our own width." 

" Perfection consists not in doing ex- 
traordinary things, but in doing ordinary 
things extraordinarily well." 

"The grandest thing, next to the radi- 
ance that flows from the Almighty's 
throne, is the light of a noble, beautiful 
life, shining in glorious splendor over 
the lives of all its fellowmen, and finding 
its home in the bosom of the Everlasting 

o -a 

"Life is the search for truth." 

"To be rather than to seem." 

"Do the best work, and be kind to 
your fellow-man." 

" Cheerfulness is what greases the axles 
of the world. Some people go through 
life creaking." 

"He acts his best who se^ks the best 
and keeps not what he has, but to another 

" He conquers who endures." 

"We cannot expect to receive the best 
" God's in his heaven ; all's well with things in life, unless we give to the world 

the world." 

the best in us. 

" Life is to me one long series of mod- 

"To live in an enlightened age among 

, ^ J , -^u 1 • J J ulations, with an occasional discord, but 

enlightened people, with a keen mind and . . . 

a sympathetic heart." 

ever resolving into something grand and 

^ 68|r »rumr... 1909 (T^ 

" Nothing can give vou peace but your- " Never do to-day what vou can put off 
self. Nothing can give you peace but the until to-morrow, — if you want to live long 
triumph of principles." and be happy." 

" Success does not so much depend on 
•*It is only through painful effort and external help as on self-reliance." 
resolute courage that we move on to 

better things." <j~t — V- — 

// " Life is one long, sweet ' Drone Bass,' 

with an occasional progression." 

"Take heart, who bears the cross to- 
dav shall wear the crown to-morrow." 

Cyy\ r^^^^fy^^^y-^ ' ' The symphony of Love will charm the 
^ world when each individual member of 

the Universal Orchestra has put in tune 
• I am the master of my fate; I am the j^is own instrument." 
captain of my soul." 






The following is a complete list of numbers performed in Recitals and 
Concerts by members of the Senior Class, from November 23, 1907, to 
April I. 1909. 


February 16, '07. 
May iS, '07. 
June 6. '07. 
October 31. 'oS. 

No\"EMBER 14. 'oS 

Daisy M. Arnold. Pianoforte, 

'\ Grie^ — Lvric Pieces (Gade) 
" ( Stai/b — Sous Bois. 
J\>: z>/ — •• In Arcadv.'* 

I.tszt — Valse Impromptu, A flat major. 
Chofin — Concerto. F minor (last movement). 
Schubert — Impromptu. B flat. 
Beethoz-en — Sonata, F major (violin and piano). 

>LvRCH 6, '09. 

Birdie M. Austixe. Pianoforte. 
Chopin — Polonaise. C sharp minor. 

December 5, *oS. 
IVLvRCH 20. '09. 

Viola T. Browx. Piajioforte. 

Brahms — Rhapsodie, Op. 79, No. 2. 
Beethoven — Sonata, E minor, Op. 31. No. 2. 

April 27, '07. 
October 19, '07. 

Tant ary 30, '09. 

February 26, '09 

LiLA G. Byrne, Voice, 

Massenet — ^Aria '* II est doux il est bon." 
( Mozart — " Voi che sapete *' {L,e Xozzi di Figaro^ . 
I Thomas — •■ Connais tu le pajs " (Mignon). 
{ Schumann — " Seit ich ihu gesehen." 
} Massenet — •• Ouvre tes veux bleues." 
r Ckad-i ick — •* He loves me." 

\Mrs. H. H. A. Beach — •• The Years at the Spring." 

^L\rch 28, '08. 

No\'EMBER 16, *oS. 

October 17, 'oS. 

Xancy G. Campbell. Pianoforte. 

Schumann — Intermezzo i . , 

A- 1 ui . Carnival. 
\ alse noble J 

Mozart — Trio. C major. 
Brassin — Nocturne, G flat major. 


Jaxuary 23, '09. 

April 27. '07. 
November 7. '08. 
March 6, '09. 

^Margaret T. C-\rrlthers. Pianoforte. 
S. H. Parher—FTt\\xd& (trio). 

Millie M. Cordes, Pianoforte. 
Beethoven — ^Trio. Op. 1 1 . 

Florence D. Colghlan. Voice. 

Mozart — Aria • Batti. batti " {Don Juan). 
Verdi — " L insana parola " {^Aida). 
Weber — •• Der Freischiitz." Recit. and Scena. 

70 ' *..T'^t Wltumt... 1909 

December 5, 'oS. 
May 2, '08. 
March 13, '09. 

March 27, '09. 

January 15, '08. 
May 25, '08. 
June 6, *o8. 
June 12, '08. 
October 9, '08. 
March 10, '09. 

March 21, '08. 
October 31, '08. 
November 21, '08. 
March 6, '09. 

February 20, '09. 

March 14, '08. 
November 2, '08. 
October 9, '08. 
December 12, '08. 

March 27, '09. 

May 18, '07 
September 30, '07. 

June 3, '08. 

October 9, '08. 
January 30, '09. 

TuRA Davidson, Pianoforte, 

Reinecke — Adagio from Concerto, F sharp minor. 
Beethoven — Concerto, C major (first movement). 
Godard — Concerto, A minor (first movement). 

Kate De Tuncq_, Pianoforte. 
Beethoven — Sonata, D minor. Op. 31, No. 2. 

Charles H. Doersam, Organ, 

Bach — Toccata, D minor {Doric). 
Pergolese — Stabat Mater. 
Handel — Sonata, F major. 

Bach — Toccata and Fugue, D minor ( Gothic) . 
Vierne — Finale from First Symphony. 

Rheinberger — Finale from Concerto, F major (with orchestra). 

Constance Freeman, Pianoforte, 

Schiiett—'' Tendre Aveu" 
Choptn — Nocturne, F sharp major. 
Mozart — Larghetto from Trio, B flat. 
Schumann — " Papillons." 

Elizabeth M. Haire, Pianoforte, 
Chopin — Ballade, A flat major. 

Mary L. Hare, Voice, 

Massenet — " Air des Roses." 

Donizetti — Recit. and Aria " O Mio Fernando." 

Liszt— Die Lorelei." 

Tschaikovjsky — Air des Adieux {Jeanne d^ Arc). 

Lu Ethel Hewitt, Pia?ioforte. 
Mozart — Allegro from Trio No. 3. 

Mrs. Mabel M. Holmes, Pianoforte. 

I Dennee — Etude, E flat. 
\ Glinka-Balekeron — "The Lark." 
Chopin — Nocturne, D flat. 
Etude, G flat. 

St. Saens — Concerto, G minor (Scherzo and Finale), with 

Schumann — Phantasietanz. 

(From " Album Leaves.") 

Chad-vick—^^ The Rill." 
Beethoven — Sonata, Op. 69. 

Leta J. Haskell, Voice. 
DelV Aqua — '* Chanson Proven^ale." 

1909 ...Z'^f 'ntnmt... 71 Cr^ 

Fay Hostetter, Pianoforte. 

Brahms — Rhapsodic, B minor. 
\ Schubert-Lt$zi—''T>u bist die Ruh." 
] Chopin — Etude, C major, 
Mozart — Sonata, D major (violin and piano). 
Liszt — " Le Rossignol." 

October 3, 'oS. 

January 16, '09 

January 30, '09. 
March 27, '09. 

January 5, '07. 
March 2, '07. 

May 21, '07. 

October 30, '07. 
March 6, '08. 
May 25, '08. 
October 3, '08. 
October 9, '08. 

February 26, '09. 

Florence M. Jeppersox, Voice. 

Goetz — Four songs from "The Garden of Kama, 
f Foote — " Song from the Persian " (duet). 
\ H. Parker — " Hora Novissima" (quartet). 
\ Brahms — " Wie Melodien zicht so mir." 
I Tscha ikoivsky — ' ' Waru m . " 

Schubert— Die Alhnacht." 

Dvorak — Requiem Mass (quartet). 

Perjoolese — Solo from " Stabat Mater." 

C. Franck — " Panis Angelicus." 

Wagner — " Traiime." 
(Lefebre—''\Q\ bas." 
■< Bruneau — "Berceuse." 
I A. Holmes—'' L'Heure rose." 

Lloyd G. Kerr, Voice. 

i Liszt — " Du bist wie eine blume." 
January 15, '08. \ Chad-mick — " O, let night speak of me." 

( Brahms — Vergebliches Stiindchen. 
March 21, 'oS. Verdi — La Forza del Destino (duet). 
October 17, '08. Gounod — "LeVallon." 
November 14, 'oS. Schultz — " Sommernacht " ("duet). 
February 6, '09. Rossini — Masse Solemne — " Gratias " (trio). 

November 16, 'o 

January 24, 08. 
November 7, '08. 
December 19, '08. 

Howard W. Lymax, Voice. 

Hahn — "L'Heure exquise." 
Foote — "O swallow." 
Donizetti — Sextet from Lucia. 

Gounod — " Angiol che vesti " {Romeo and Juliet) , duet. 
St. Saens — Barcarolle (duet). 

Elinor Markey, Voice. 

March 20, '09. Schubert — " Der Wegweisar." 

" Geheimes." 

Thomas Moss, Organ, 

April ii, '08. Bach — Prelude, B minor. 

October 9, 'oS. Guihnant — Adagio from Fifth Sonata. 

Eva W. Osborne, Pianoforte, 
November 9, '08. Liszt — "Consolation," E major. 

John O'Brien, Pia7ioforte. 
January 23, '09. Rachmaninof-Yr^Xude, C sharp minor. 



December 5, 'oS. 

November 16. '07. 
February i, 'oS. 
February 26, '09. 
March 27, '09. 

June 6, 'oS. 
>L\RCH 6, '09. 

November 23, 
March 27, 09. 

December 7, '07. 

February 29, 'oS. 
December 19. 'oS. 

TuxE S. '07. 
Jajstary' II, 'oS. 
November 14. 'oS. 
January' 16. '09. 
March 20, '09. 

Lucv Parent, Pianoforte. 
Beethoven — Trio, B flat (second movement). 

Belle Patterson, Pianoforte. 

Liszt — " Liebestraum," A flat major. 
Hummel — Concerto. A minor. 
Chopin — Fantasie, F minor. 
Webei — Concerto, C major. 

Ella M. Potter, Pianoforte. 

Brahms — Rhapsodie, G minor. 
Leschetizky — Intermezzo. 
Chopin — Nocturne, Op. 62, No. 2. 
Etude in G flat. 

Hazel C. Phillips. Piajioforte. 

Chopin — Nocturne. G minor. 
Chopin — Funeral March. 

Florence D. Richey, Voice. 

Mozart — Recit. and Aria — " Deh veni non tardar'' (Z,e 

di Figaro) . 
C. K. Rogers — Three Folk Songs. 

Rossini — Recit. and Aria " Selvaopaca" ( William Tell) 

Teodulo Sanchez, Pianoforte. 

Tschaikozvsky — Romanze in F minor. 
Jensen — Galatea. 

Chopin — Polonaise, C sharp minor. 
Beethoven — Trio in C minor. 
Chopin — Scherzo. B flat minor. 

William B. Tyler, Organ. 
December 14, '07. Bach — Prelude and Fugue. A major. 

Van Denman Thompson, Pianoforte. 

Grieg — Sonata, C minor (violin and pianoj. 
{ Bach — Solfeggietto. 
\ Leschetizky — •"Berceuse." 
( Schuett — Capriccioso. 

Antoinette Van Cleve, Violin. 

March 6, '09. 
^L\rch 13, '09 

November 21. 'oS. 
December 5, 'oS. 
February- 6, '09. 

February- 13, '09. 

>L\Y- 23, 'oS. 

Mozart — Trio, B flat, Larghetto. 
Beethozen — Trio, B flat (second movement). 
Godard — Romanze, B flat. 

Beethoven — Theme and Variations, Op. 11 (trio) 

Amy L. W^yrd. Pianoforte. 
St. Sa'e'ns — Impromptu Caprice. 

♦ ♦♦ 


73 ^ 

Charlotte Whixerv, Pianoforte. 

November 14, 'oS, 

June, 17, '07. 

June S, 'oS. 

December 19, '08. 
March 10, '09. 

December 5, '08. 
January 23, '09. 
March 13. '09. 

December 12, '08. 
March 20, '09. 

April 27, '07. 
May 10, '07. 
May II, '07. 
May iS, '07. 

May 25, '07. 

November 9, '07. 
January ii, '08. 
January 25, '08. 
February 8, 'oS. 
February 28, 'oS. 
March 28, '08. 
May 16, '08. 
May 25, '08. 

June 1, '08. 

October 9, '08. 

December 12, '08, 
January 16, '09. 
January 23 '09. 
March 13, '09. 

Ret'fiecke — Ballade, A flat major. 

Lawrence Whitcomb, Oboe. 

C. Colin — Concerto for Oboe, 
j Beet/ioveti — Qiiintet, E flat. 
( Vog-t — Fourth Concerto. 

Mozart — Qiiartet in F major. 

Handel — Concerto, G minor, for oboe (^vith orchestra). 

Joseph H. Williams, Pianoforte. 

Beethoven — Sonata, E major (first movement J. 

Chopin — Preludes No. i, 6, 10, 15, 22. 

Chopin — Fantasie-Impromptu, C sharp minor. 

Hazel W\^l\x, Pianoforte. 

Weber — Concertstiick. 

Chopin — Nocturne, D flat major. 

Virginia Stickxey, Violoncello. 

Mozart — Larghetto, Quintet, A major. 
St. Saens — Concerto, A minor, for 'cello. 
Mendelssohn — Trio, D minor. 
St. Saens — Andante and Minuet, Septet. 
' Schubert — Trio, B flat major. 

Boellmann — Sonata, 'cello and piano. 
Tschaiko-J.skv — Trio. 
Beethoven — Trio. B flat. 
Schubert — Trio, E flat. 
Beethoven — String Quartet, F major. 
Grieg- — Sonata, A minor ('cello and piano). 
Volkman — Serenade, D minor (with orchestra). 
Rubenstcin — Scherzo from Trio, B flat. 
Popper — Three Pieces. 
Servais — Fantasie, " Le Desir." 
' Chadzvick — Quartet, D minor. 
Beethoven — Trio, B flat. 
Grieg — Sonata. 
Mendelssohn — Octet. Op. 20. 
Popper—'' Herbstblume." 

" Elfentanz." 
Beethoven — Sonata, A major ('cello and piano). 
^fendelssohn — Trio, C minor. 
Beethoven — Andante Cantabile (string quartet). 
Schumann — Scherzo, Trio, D minor. 

1909 ♦.>glie mtnmt... 75 Cr^ 

Class Officers 

Harold B. Simonds 

Ella B. Dyer 

Ray Wingate 

Recording Secretary 

Edith M. Chapman 

Corresponding Secretary 

F. Carl Gorman . 


Viva G. Head 

Assistant Treasurer 

iWotto : 

''Not how much, but how ! " 

Colors; : 

Red and gold. 


: Red rose. 

>en: Rah! Rah! Rah! 

For 1910. 

Rah! Rah! Rah! 

Again, again. 

Rah! Rah! Rah! 

Who are wx ? 

We're 19 10 

Of N. E. C. I 



The Class of 1910 

Junior Year 1 908-9 


Allen, Ethel Louise 
Anderson, Louise Belle 
Arnold, Harriette 
Bancroft, Marv Smith 
Bates, Barbara 
Boicourt, Edna Elizabeth 
Brigham, Ada ]Marie 
Browne, George AUyn 
Chaloff, Julius Louis 
Chapman, Edith June 
Charles, Samuel Buchanan 
Clippinger, Anna ^I. 
Coburn. Ruth \V. 
Cullen. Lillie Isabel 
Cunningham, Julia Alice 
Downs, Edmund G. 
Dyer, Ella Bonita 
Frost, Ethola Winona 
Gibson, Lois Gracia 
Gorman, Frank Carleton 

Hawley, Jessie Laura 
Hebb, Eva St. Clair 
Knight, Beatrice X. 
Lentz, Nettie Elsie 
Love, Ao^nes 

McLeod, Mrs. Bertha Xowell 
Mitchell, Bessie Murray 
Xovotnv, Emma Jennie 
Xusbaum, ^label 
Scott, Walter, Jr. 
Smith, Anna Evelyn 
Snow, Irving 
Story, Estelle Winthrop 
Tarbell, Olive De Land 
Thompson, Marcells 
Tibbetts, Jennie Wilson 
Vandewart, Blanche 
Webb, Maro^aret Kerr 
Weissbach, Fredericka 
White, Bertha Louise 


Hazel Browning: 


Andrews, Rebecca Hanson 
Bishop, L'mphra Holmes 
Crane, Stella Bundv 
Dean, Harlowe Fenn 
Griffin, Marie 
Head, Viva Grace 

Adams, Frank Stewart 
Brigham, Cynthia Mary 

Eadie, Bessie Margaret 
Haigh, Annie Louisa 



Xickell, Edith Rosanne 
Ormerod, Carrie 
Pierce, Ida Lucile 
Smith, Ethel May 
Wingate, Rav Winthrop 
Wiswell, Aliie M. 

Faunce, Alice Gushing 
Simonds, Harold Bralev 

McCloud, Alberta Dawes 
Strother, Homer Dell 
Weinberg, Jeannette 


Cole, Charles Winkley 

1909|C Jttnmt... 77 

Junior Class History 

Ox A FRIDAY afternoon in late October of 190S about fifty 
students responded to a call of the Director to organize them- 
selves into the Junior Class. Mr. Chadwick, having seen us 
through our examinations, praised the standard as a class, gave us encour- 
asfement and gfood advice on all matters relatinor to the o^eneral welfare of 
the class. 

The class was then organized bv the election of officers and appoint- 
ment of committees. A good class spirit was at once aroused, and plans 
were laid for a prosperous Junior year. 

It was the desire of our worthy Seniors to have us ushered into true 
class life" in an enjovable way, so thev tendered us an informal recep- 
tion, or acquaintance partv. on November iith. The social spirit was now 
established, and on Fridav, November 27th, Recital Hall was the scene 
of a gav card partv. Our December function was a real ""Xew England 
Log Cabin " partv in Lawrence. This was indeed a distinctive affair. 
The trip on the train, the walk through the woods, eating our lunch before 
the huge open fireplace, the Virginia reel outside in the moonlight — all 
these experiences served to make an evening that any following class will 
do well to equal. The evening of January iith found us in Gardiner Hall 
in response to an invitation from Mrs. Ferguson and the Junior girls in 
that hall. On Februarv 2 2d Sinfonia entertained us with a dance. Our 
March party was held in Recital Hall on the 15th of the month. For the 
rest of the vear our conscientious entertainment committee has planned a 
theater partv, an all-dav picnic in the countrv. and the most looked forward 
to of all our social events, a reception and spread for the Seniors. 

It is not right to boast of our class spirit, but we surely have as con- 
genial, live and talented a class as any that has preceded us. Faithful- 
ness on the part of ever\' class member :> responsible for the large treasiu-y 
that is ours. 

All that we have done as a class in our meetings and socials, togfether 
with the influence the Seniors have had over us, and the encouraging 
words of ^Ir. Chadwick, all of these things together are responsible for 
the desire of the class to be a factor in tliis institution, not merely a group 
of students who hope to receive a diploma in June of 191 o. The Class of 
1909 has started a scholarship fund. We as a class are heartily in sym- 
pathy with this worth}- project, and before our graduation we hope to 
contribute our mite, that after leaving the Conservators we mav feel that 
the existence of the Class of 1910 has been of benefit to a worthy cause 
for others. 

Harold B. Simonds, Presidefit. 

♦♦♦gl^e "Wltnwt^** 1909 

Class of 1908 

^xi longa. bita tvMi 

Class Officers 

Frank Otis Drayton ..... President 
Jessie Miriam Swartz . . . Vice President 

Grace Witter Field ..... Secretary 
Lewis Leber Chamberlin .... Treasurer 
Mabel Louise Wilcox . . . Assistant Treasurer 

*' What's the Neume without a Doersam ! " This new motto, I hear, 
was submitted to the Class of 1909 by a certain young lady on the Neume 
Board; to serve as a more practical truth than "Labor conquers all 
things" (Labor omnia vincit). I also understand that the new motto was 
adopted at the last regular business meeting of '09. Well, I agree with 
the adoption ; that is, I did agree with it until your worthy editor-in-chief 
asked me to write an article for the "Class of 1908." I'm afraid these 
few paragraphs will fall far short of such a dignified classification. 

There is no means, at present, by which a graduate class at the Con- 
servatory can record its last few weeks o£ activity, except on the pages of 
the class annual following, and for such space in this year's Neume the 
Class of 1908 is extremely grateful. What follows then will serve merely 
as a review of " '08 doings," from the time our Neume went to press until 
June 24, 1908. 

Hardly one year has passed since the Class of 1908 was busy pre- 
paring for " the final struggle" with examinations. Class Day, Commence- 

1909 .,.Z^t mtnmt.,. 79 Cr^ 

ment, etc. In that short space of time, however, our class has scattered 
to the extreme west, north and south of this o^reat country- of ours. But 
fourteen of our fifty-eight members have returned to their Alma Mater for 
further study, while sixteen different states and the Dominion of Canada 
lay claim upon the greater majority. One exception occurs, and that a 
sad one ; I refer to our class treasurer, Lewis Leber Chamberlin, who, on 
Tuesday, August ii, 1908, responded to the call of sudden death. Our 
friend and classmate was one who worked hard, thought well, and his 
helping hand contributed greatly to the pronounced success of his class. 

Immediately after the 'oS Neume was published examinations stormed 
in " on all sides. No rainbow followed the storm either, as we were 
obliged to get busy" at once on Commencement. 

Following you have our manoeuvres listed from June 3d to 23d : — 

nineteen hxjndred and eight 

Wednesday, June 3 

Director's Reception to the Graduating Class . . 4 to 6 p. m. 

Thursday, June 18 

Concert by Members of the Graduating Class in 

Jordan Hall 8.15 p. m. 

Friday, Junt: 19 

Senior Reception in Jordan Hall .... 8.00 p. m. 

Monday, June 22 

Class Day Exercises in Jordan Hall .... 3.00 p. m. 
Alumni Reunion and Reception at the Tuileries . 8.00 p. m. 

Tuesday, June 23 

Commencement Exercises in Jordan Hall . . 2.30 p. m. 
Class Dinner at Hotel Brunswick .... 8.00 p. m. 

On June 3d a most enjoyable afternoon was spent at the home of our 
Director, Mr. George W. Chadwick. To meet Mr. Chadwick on ''home 
grounds " was indeed a privilege enjoyed, and long to be remembered, by 
all 'oSers. 



On June iSth, the evening of our class concert, Jordan Hall was filled 
with a large and fashionable audience. Let our program speak for 
itself :— 

Mexdelssohx. The Mav bells and the Flowers 

ladies' chorus 

SuLLiVAX*. Strube. •'Lost Chord" 


Verdi, Aria, " Pace, Pace, mio Dio," from La Forza del Destino 


Mexdelssohx, Concerto in G minor (first movement) 

Orchestral parts played by Mr. David H. Sequeira 

Reixecke, Praise of Spring 

ladies' CHORUS 

Strauss-Tausig, ** Walzer-Caprice " 


Rossixi, Aria, Una voce poco fa," from // Barbiere di Seviglia 


Chopix. " Berceuse " 
MacDowell, " Motto Perpetuo " 


Rheixberger. Sonata in A? (first movement) 




June iS, 190S, S.15 p. M. 

RuBixsTEix, ''Wanderer's Night Song 


On the evening of June 19th we held our Senior Reception in Jordan 
Hall. Director Chadwick. Dean Goodrich, Mr. Flanders, and the class 
officers, received the g^uests of the evening:. 

1909^r lartitnc. 81 

Monday, June 2 2d. was a bus}^ da}^ At three o'clock in the after- 
noon Class Day exercises were held in Jordan Hall. The program fol- 
lows, and let vociferous outbreaks," etc., by Juniors and Alumni be 
added as a footnote : — 

June 22, 1 90S, at 3 p. m. 

'oS Song 

Words by -'D " 
Music by T " 

Address of Welcome 

mr. f. otis dr^vytox 


miss lilliax herbert 

'oS SoxG (Adapted) 

Music by T" 


miss nellie brushengham 
Prophecy (Illustrated) 

miss may g. hall 


mr. darden ford 

The Ivy 

** We've Got You 'On the String'" 
'oS Class Song 

Words by "D" 
Music bv "T " 

Class Day Committee 

Charlena Freeman 
May Hall 
Lillian Herbert 

Frances Peabody 
Frank Harrington 
Karl Rackle 

Darden Ford 

82 ♦♦♦K^r Mtumt^^^ 1909 

Class statistics, history, prophecy, oration and all, have been published, 
and may be found at the Boston Public Library, or with the writer of this 
''article." (Reader — Better try the latter, should you care to peruse these 
masterpieces, for they are in suc/i demand that you are apt to find them 
" out" of the library.) 

Monday evening, at eight p. m., the Twenty-ninth Annual Reunion 
and Reception of the Alumni Association took place at "The Tuileries." 
You might wonder ''why?" we, the guests at this notable occasion, were 
received as "alumni" before we had our "sheep-skins," but I feel too 
proud ; 1 couldn't tell you. Never mind, here's the program : — 

ull)r ufhtrntit-nintli 
Annual fipunton and %prr)itton 


Ollir Alumni Aaanriattnn 

nf tl|r 

Nrui ^noland (Honspntaton) of Ulniitr 

^miiiitrh 1053 hg Dr. £brn SSimrtrr 

Slip SnilrriPB 

Sooton. lianii. 

USandan rbrtiinri. 3lttnr tljr ttllnttl|-sprn^^ 
Ntnrtrrn liundrrD and riglrt 

•• Every student a graduate , every graduate an alumnus ' 



Address nv the President 

Mr. F Addison Porter 

" Carmena " 

"To Phi Mu Gamma" 

Phi Mu Gamma Sorority 

•Address hy the Director 

Mr. George W. CiiJbdwiCK 

" Come, all ve glad Sinfonians " 
"On and ever Upward" 

SiNFONiA Fraternity 


Rev. Paul Revere Frothingham 

"We Think the World was made for Us" 
"Alpha Chi Goat Song" 

Alpha Chi Omega Sorority 

Class Roll Call 
Class of 'oX 

Mu. F. Otis Dkavton, President 

Class Song — " E-I-G-H-T " 

(SoUatiiin iBanring 

Our Commencement program on the following afternoon went off in 
grand style. Massachusetts, Connecticut, Virginia, Colorado, Nova Scotia, 
Illinois, New York, Wisconsin and Maine were all represented, as you 
will see by the following : — 

1909^r »rtttnc. 83 


June 23, 1908, 3 p. M. 

The Accompaniments are Played by the Conservatory* Orchestra 
Conducted by' Mr. Wallace Goodrich 

Bach, Prelude and Fugue in C major for Organ 

Roxbury, Mass. 

Mozart, Aria, " Xon piii andrai," from Le Nozze di Figaro 

Danbury, Conn. 

Beethoven, Concerto in G major for Pianoforte (first movement, 
Allegro moderato) 

Petersburg, Va. 

Debussy. Aria, "L'annee en vain chasse I'annee," from VEiifant 

Denver, Col. 

Beethoven, Quartet, "Mir ist so wunderbar," from Fidelio 


Amherst, Nova Scotia Boston, Mass. 


Chicago, 111. 

Bruch, Aria, "Penelope ein Gewand wirkend," from Odysseus 

Albany, X. Y. 

Chopin, Polonaise in F# minor for Pianoforte 

La Crosse, Wis. 

Ponchielli, Aria, " Cielo e mar," from La Gioconda 


St. Saens, Concerto in G minor for Pianoforte 

I. Andante sostenuto 

Roxbury, Mass. 

II. Allegro scherzando 
III. Presto 

Farmington, Me. 

Weber, Overture to Euryanthe 

Address to the Graduating Class 

BY the director 

Presentation of Diplomas. 

84 ♦^♦g^e SHtftiwe^^^ I909 

One, familiar to all Conservatory students, was missing at our Com- 
mencement exercises last year, and that was our beloved President, Charles 
Perkins Gardiner. Mr. Gardiner, being ill, was unable to address or meet 
the Class of 1908. Early in August we were deeply grieved to learn of his 
death, and right here may I be permitted to repeat the dedication of our 
1908 Neume : — 

Cfjarles! ^erfeinsi #arbtner 

OTfjosie cons^cientious! enbeabor for tfje tjetterment of our 
^Ima JHater tas( ttion f)i5 toap into tfjc fjearts! of tlje 
gtubent bobp, anb fjas; placeb tfje i^eto Cnglanb 
Conjferbatorp upon a gtanbing far tigfjer 
tftan it eber liefore fjas occupieb, tljis; 
book gratefully bebicateb 

Tuesday evening, June 23d, we held our class dinner at Hotel Bruns- 
wick. This was the last meeting of the Class of 1908. Mr. and Mrs. 
Chadwick were our honored guests on this occasion, and for the last time 
we listened to w^ords of humor, good advice and assurance from our 

As a class I believe '08 made a record which will stand good in Con- 
servatory annals. We instituted several new ideas and functions, and if 
this would keep the name of a class alive 'o8's name should never die. 

We have passed into the Alumni. We intend to be as original and 
helpful there as we were in our undergraduate days. To work still as a 
body, to maintain our enthusiasm and to ever prove loyal to our beloved 
Conservatory. Then, — 

Here's to the class of nineteen eight, Our colors — green and gold they stand, 

That ever lojal band. Their meaning thus is told : 

Who've fought the fight at N. E. C. The green — artistic youth and strength. 

And conquered — hand in hand. A prosperous age — the gold. 

Sing out our motto strong and clear, We've finished all our labors here. 

Let all take it to heart, Our course is duly run ; 

For art is long and life is short," But with life's work and music's art. 

Each one must do his part. Our course has iust begun. 

Then E-I-G-H-T and Rah ! 
Sing up with heart and soul, 
Let E-I-G-H-T ring far 
With Rah ! and Rah ! and Rah ! 

And to '09 and '10.? Well, "Here's to the ' have-beens,' the ' are- 

nows' and the ' may-bes.' " 

F. Otis Drayton, '08. 

The Alumni's Awakening " 

86 ^^.Z^t 3^tumt.^^ 1909 CT^ 

The Alumni Association 

Henry T. Wade 

Percy Jewett Burrell . 

Miss Grace Diggles 

Mrs. Clara Tourjee-Nelsox 

Clarence E. Reed . 

Alfred De Voto 

First Vice President 
Second Vice President 
Recording Secretary 
Financial Secretary 

^^^fc^HE spirit of loyalty to our Alma Mater which is being earnestly 
■ ^ J aroused by the graduating classes of the last few years reflects 
^^^^^ great credit upon the younger members of the Alumni. The 
Class of 1909 deserves especial praise for their success in strengthening 
these bonds of loyalty among its members, and also for continuing the pub- 
lication of The Neume. That the Alumni Association appreciates fully 
the excellent work of the graduating classes of the last few years it gives 
me pleasure to acknowledge, and also to extend to the Class of 1909 the 
congratulations of the Alumni. 

The iVlumni Association was organized in 1880 through the influence 
of Dr. Eben T. Tourjee, the founder of the New England Conservatory of 
Music. The first President was Miss Sarah Fisher, now Mrs. Austin C. 
Wellington, and her successors have been Mr. Alfred D. Turner, Mr. 
Henry M. Dunham, Miss Clara S. Ludlow, Mr. Frank E. Morse, Mr. 
John D. Buckingham, Mr. Charles H. Morse, Mr. Everett E. Truette and 
Mr. F. Addison Porter. The aims of the Association are to perpetuate 
and intensify in its members fidelity to their Alma Mater, and to assist 
worthy students by the establishment of a loan fund, scholarships and 
prizes, and by aiding in the endowunent of professorships when these helps 
shall become practicable ; and, in general, to aid the Conservatory, assist 
each other, and further the true progress of art. 

We are greatly indebted to our former President, Mr. F. Addison 
Porter, for his excellent work in stimulating loyalty and in encouraging 
class organization. Through his efforts we have a stronger association 
and visible evidence of earnest class spirit among the student body at the 

The Alumni is helping and will continue to assist her Alma Mater as 
much as it is within her power to do. The majority of our members have 
the welfare of the Conservatory at heart, and we are very fortunate in 
adding to our ranks this year's graduating class. May the ambitions of 
each and every member of the Class of 1909 be fully realized. 

Boston, May, 1909. Henry T. Wade. 

^ 88 ...g|ie»rtiwc... 1909 (T^ 


Musical Fraternity of America 

Elstablished at the New England Conservatory of Music, Boston, October 20, 1898 

Incorporated 1904 



New England Conservatory of Music . 

Boston, Mass. 


Broad Street Conservatory of Music . 

Philadelphia, Pa. 


Detroit Conservatory of Music . 

Detroit, Mich. 


Ithaca Conservatory of Music 

Ithaca, N. Y. 


University School of Music 

Ann Arbor, Mich. 


University of Missouri 

Columbia, Mo. 


Cincinnati College of Music . " . 

Cincinnati, Ohio 


Syracuse University .... 

Syracuse, N. Y. 

Grand Stcpreme President (^Honorary) 

OssL\N E. Mills, Alpha 




Supreme Vice President 





George B. Bridenbaugh 
Percy J. Burrell 
Harold W. Cheney 
Harold A. Cole 
Harlow F. Dean 
Charles H. Doersam 
F. Otis Drayton 


Active Members 

George Fitzroy 
Archibald M. Gardner 
Clifton W. Hadley 
Vaughn Hamilton 
Lloyd G. Kerr 
Guy E. McLean 
OssiAN E. Mills 
Thomas Moss 

Elisha p. Perry 
Edgar A. Schofield 
Harold B. Simonds 
Sten Algar Strobeck 
William B. Tyler 
George Vieira 
Horace Whitehouse 

Honorary Alembers 

Hon. George B. Cortelyou 

Mr. Henry Russell ...... 

Washington., D. C. 
London., Efiglattd 






Officers of Alpha Chapter 

Horace Whitehouse 
Charles H. Doers am 
Thomas Moss 
F. Otis Dr.\ytox 
William B. Tyler 
Ossian E. Mills 
George Vieira 

President and Councilman 
First Vice President 
Second Vice President 
Recording Secretary 
Corresponding Secretary 

Before taking up the thread of the Sinfonia storj, which is continued from the 
Nel'me, 'o8, one word of review mav not be amiss. SINFONIA, a national, incor- 
porated fraternity, was founded at New England Conservatory of Music, April i8, 
1901, by Ossian E. Mills, "Father of Sinfonia," and a number of men who felt the 
need of closer relation, one with the other, in things fraternal. 

With an average growth of one chapter a year it stands to-day on the foundation 
of a well-organized and effectually working force of eight chapters, situated in leading 
schools of music throughout the United States. 

From Neume, '08. 

" On May 8, 190S. twelve men go to Philadelphia to attend the Eighth Annual 
Convention at that place, headed by Brother Ossian E. Mills, ' Father of the Sinfonia.' '* 

These men went to Philadelphia on the above date to attend the Eighth Annual 
Convention, and returned home resolved to give better and more efficient service to 
our Alma Mater, and to live on a higher plane of brotherhood. Alpha Chapter was 
again honored by the re-election of Brother Percy J. Burrell to the office of Supreme 
President, and still further honored by the election of Brother A. M. Gardner to the 
office of Supreme Treasurer. Before the close of the school year 1907-0S Alpha men 
showed their interest in athletic matters with the result that an association of all the 
men at the New England Conservatory was instituted. On other pages of this vol- 
ume a full account of the association will be found. 

Summer vacation having passed, our new and very much alive Entertainment 
Committee produced the following program of social events to fill the current year. 

Alpha Chapter Sinfonia Calendar 

Tuesday, October 6, 
Tuesday', October 20. 

Friday', October 23, 

Friday, October 30, 

Monday, November 2, 

Reception to men of the Consers-atory. 
Tenth Anniversary of Sinfonia. Informal dinner in 
Chapter rooms. 

Political meeting. Subject: ''Why I am a Democrat," 
Hon. John R. Murphy, of Boston. 

Political meeting. Subject : " Why I am a Republican," 
Walter S. Lane, City Solicitor of Brockton. 

Political meeting. Subject: "Why I am a Prohibi- 
tionist," Jonathan S. Lewis, Chairman State Pro- 
hibition Committee. 

1909 ..«g|>c Htmwc.«> 91 Cr^ 

Monday, November 16, Lecture: "English Political Life," Mr, P. K. Mohun, 

of England. 

Wednesday, November 25, Sinfonia Concert, Jordan Hall. 

Monday December 14, Reception and Dance to Senior Class. 

Tuesday, January 12, Lecture: "Mammoth Cave, the Wonderful Under- 

world," Mr. Percy J. Burrell. 

Wednesday, February 10, Annual Sinfonia Banquet at Hotel Vendome. 

Monday, February 22, Reception and Dance to Junior Class. 

Monday, March i. Fireside Conference upon a vital topic. 

Monday, March 8, Illustrated Lecture: "Agra, the Rome of Asia," Rev. 

Frederick B. Fisher (formerly a resident of India). 

Monday, April 12, Ladies' Night. 

Tuesday, May 18, Seventh Annual Sinfonia Assembly. 

May Faculty Smoke. 

May "Deep Sea Fishing and Clam Bake Expedition." 

June Illustrated Address, Rev. John Hopkins Dennison, D.D. 

Thus far we have lived up to the foregoing and have invited our friends in on 
several evenings to enjoy these pleasures. If they have been appreciated as much 
as we have desired, Sinfonians will feel that this year has been not without result. 
At our political meetings, when the ladies turned out in good numbers, we believe that 
the cause of woman suffrage gained new impetus. 

Receptions and dances have taken up a share of our time, one of the most notable 
being that of Jan. 18, 1909, when, at the kind invitation of the preceptress, Mrs. Fer- 
guson, and the "girls" of Gardiner Hall entertained. Gardiner Hall has also been 
the scene of considerable fun at the expense of newly elected men. 

Feb. 10, 1909, a happy company, some thirty-two in number, at the Hotel Ven- 
dome, with Mr. Max Fiedler, conductor of the Boston Symphony Orchestra as the 
guest of honor, our Brother George W. Chadwick, together with Dean Goodrich, 
Assistant Manager Trowbridge and members of the faculty, sat down to our annual 

It was here that the management and faculty were made aware that Alpha Chap- 
ter was intending to establish a scholarship for male students at the New England 
Conservatory. Through the influence and kindness of Brother Chadwick Alpha 
Chapter has received a considerable sum of money for this purpose from Mr. I. J. 

What's the matter xvith Padereivski f 

Before this volume shall be completed "A Holiday in Jail," a musical travesty 
in three acts, by Brother Percy J. Burrell, with original music by Alpha members, will 
have been presented in Jordan Hall. The proceeds from this venture will also serve 
to augment the scholarship fund. 

There are yet other things coming to interest our friends, and we trust that ere 
the year shall close they will join us in declaring that this year has been the " best 
ever," and so shall we all join hearts and minds in praise of our N. E. C. 


On April 14, 1909, Alpha Chapter sends her delegation to the Ninth Annual 
Convention at Syracuse, N. Y. 


( f^ 92 ...T'^t Htnmt... 1909 Cr^ 

Sinfonia " Scherzos " 

Simonds says Harold Cole would make a good " aunt." 

Whitehouse : How did that prelude start, Elisha? 
Perry : It just started right out. 

Perry: You forget that flat 

BuRRELL : No, he didn't ; he is saving it for his family. 

Kerr, do you have to wear your glasses ali the time, or can you see without them?" 
" I manage to sleep without them." 

Favorite Songs in the Sinfonia Room 

BuRRELL : " I won't go home till morning." 

Whitehouse : " How'd you like to spoon with me." 

DoERSAM : " Never mind, Miss Lucy." 

Cheney : " In my merry automobile." 

Perry : " When we are m-a.-dou6le r-i-e-d." 

Tyler : " I want what I want when I want it." 

Deax : " Waiting for a certain girl." 

Cole : " What do you want to talk about it for? " 

McLean : " The Choir Invisible." 

Bridenbaugh : " Kiss Me, Kiss Me Again." 

Kerr: "Girls, Girls, Girls." 

Simonds : " In the shade of the banana ' split.' " 
Hamilton : " Way down yonder in the cornfield." 
Drayton : "In Sunny Tennessee." 
Hadley: "Cuckoo." 

ViEiRA : Won't you come in my back ^-ard 

And play on my bassoon." 
Stroebeck: " When I go on the stage." 
Schofield: " Not because my hair is curly." 
Gardner: "Because I'm married now." 
Fitzroy: " Wait till the sun shines, Nellie." 

Moss; "I cannot sing the old songs now" (or the new ones either, Tom). 

H. W. : Who says "Smith" is a common name. The next man who says it III 

knock into Smith-ereens. 
Chorus: Why Horace, you perfectly furious fusser ! 

Hurrah for the finest Senior Class 
That in the " Con " has come to pass. 
Sinfonia cheers you to the sky, 
In thanks for your fine " Pillow Pie." 

1909 ...gur ^aruwr... 93 CT^ 

" Echo- Plums " from Sinfonia 


Mary had a little lamb, 

Its fleece was soft as Moss, 

And everywhere that Tomoss went 

The lamb went, too, of course. 

The gentle beast in course of time 
Did go with Moss to school, 
And while the teacher's head was turned 
The lamb ate up the rule. 

The beast was innocent of wrong, 
And disobeyed no rule. 
The ruler, though, was painted red, — 
To red then changed the wool. 

The lamb began at once to bawl. 
And Marj' grew bald, too, 
Till both were red as Simond's face 
When fussed by the Emerson " crew." 

The lamb was first to get away. 
And skipped along the road 
Till Mary slipped upon the Moss, 
And spoiled this little ode. 

No more will Tomoss have a lamb. 
With fleece so soft and red ; 
For now he's swapped the little beast. 
And got a ram instead. 

Brightandbow will now sing the pathetic ballad of " Showpans," entitled "I rather 
have a nickel than a cur." 

Echo from Georgie B : Kerrse you + t t 

Life is one long crrind — " Mills." 

At hossenpesser : — 

M. Moss: Where's those nursing cards, 'Lish.'' 
Judge Perry: Perhaps they're in the " Pillow-decks." 

Sinfonia at the Spa: — 

Gee, fellers, there comes Cole. Just push the wall out a little so he can squeeze in. 

Burrell is fond of sweet things, but he takes " Hostetter's Bitters" with evident 

Five Best Sellers: — 

" How to fasten choir robes." — G. McLean. 
"Vibrations and other theories." — Strobeck. 
" Otis Spied-a-Webb."— Z>;'aj/o«. 
"Bars and Stripes." — Cheney. 

^ 94 ^^.gl^e l^fUWe^^^ 1909 

BoscoE Doersam: Well, Boscoes, who's going to lunch? Where? Jake Wirths, of 

Putnam's Vaudeville every Evening io to 12 p. m. 
" T^e Little Table Around the Corner ^ 
Bridie and Nickell. 
Substitutes : Dean and Hare, Kerr and Belloff, Whitehouse and Smith. 

Tyler : When is a banquet ? 

Dean: In a freshet. Then the water makes the bank-wet. 

Question: : Why is Archie-bald ? 

Answer: When a gardener he bawled and bawled till he couldn't bawl any balder. 
Listener: What balderdash. 

When is a Guy not a Guy? 
When he wears a Guyer. 

What time is it Hadley? 
Cuckoo ! Cuckoo ! 

Rehearsal Monologue: — 

Reorganizer and Assistant Conductor Chesty Dean: " Now fellers do it this 
way (the rest really must be omitted, in fact it would be but vain repetition)." 

" Brer" Leach calls our Jail Poster a "composite" picture of Sinfonia. A bas Monsieur. 

Schofield: " Let's have summat to eat, the naw." 

'* Have you seen Charles? " 
Says Plainsong Bill 
Before the door is open half ; 
Bewildered Bill has yet to learn 
Just why the answer is a laugh. 

What's Burrell's favorite pastime when calling on Gardiner Hall girls? 
" Button, Button, who's got the Button." 

S-I-N-FONIA Sin-fon-i-a ah ! 

Have you all seen the Marcelle wave 
That Schofield wears above his shave? 
The Gardiner girls are sure to tell 
His name's not Edgar, but Marcelle. 



Phi Mu Gamma 



Colors : Turquoise blue and black 
Flower: Forget-me-not 

Grand Council Phi Mu Gamma 

Alpha Chapter 
Beta Chapter 
Gamma Chapter 
Delta Chapter 

Hollins, Va. 

Hollins, Va. 
New York, N. Y. 

Gainesville, Ga. 
New York, N. Y. 

Epsilon Chapter 
Zeta Chapter 
Eta Chapter . 
Theta Chapter 
Iota Chapter 

Phi Mu Gamma Conclave, 1909, New York City 

Sweet Briar, Va. 
. Danville, Ky. 
. Boston, Mass. 
. Marion, Ala. 
. Boston, Mass. 

Eta Chapter Phi Mu Gamma Sorority 


Gladys M. Booth . 
Fannie E. Dubois . 
Louise A. Gilbert 
Edna A. Hoffman 
Margaret N. Kyle 
Jennette Lamping 
Julia Parker . . 

Madame Rotoli 


New Hampshire Hazel C. Phillips 

. Tennessee 
. Illinois 
. Wyoming 

. New Hampshire 
Glena Pritchard .... Kentucky 
M. Priscilla Rolls . . New York 
Mildred V. Shurtleff, New Hampshire 
Augusta L. Waldenmeikr California 
Edna M. Walsh .... New York 
Elizabeth A. Walsh . . New York 

Mrs. Charles Dennee 

Mrs. Carl Baermann 

Edaline Belk . . 
Annelu Burns . . 
Mary Montgomery 
Leila Noffsinger 


Texas Theo Patterson Texas 

Alabama Lillian Timmermeister . . . Ohio 

Texas Mabel Wilcox New York 

Montana Marion Wright .... New York 



The Phi Mu Gamma Bazaar 

N December 17, 190S, the Phi Mu Gamma Sorority held its first 
I annual bazaar in Recital Hall, in aid of the New England Con- 
servatory scholarship fund. The hall was decorated with palms 

and cut flowers, and afforded a most attractive setting for an extremely 
successful sale. Fancy articles of all kinds were sold at a table over which 
Miss Edna Walsh and Miss Mildred Shurtleff presided. These girls per- 
suaded nearly every one present at the sale to take "chances" on an 
exquisite Battenburg center piece, also a Mexican handkerchief. 

Our friends from the Dormitories gave pounds of candy, and home- 
made cakes were contributed. Miss Gladys Booth and Miss Hazel Phillips 
presided over these dainties, and were kept very busy while they lasted. 

In a booth of an oriental design Miss Fannie Dubois and Miss Edna 
Hoffman proved themselves champion sellers of Xew England Conserva- 
tory, Sinfonia, Alpha Chi Omega and Phi Mu Gamma pennants. 

Miss Priscilla Rolls made many a maid and man glad with words of 
wisdom that she alone can gain by a casual glance into the palms. 

Madame Rotoli and Mrs. Charles Dennee poured tea in the cozy tea 
room over the hall. 

Miss Glena Pritchard, Miss Elizabeth Walsh, Miss Jennette Lamping, 
Miss Louise Gilbert and Miss Margaret Kyle did much to make the bazaar 
a success. 

After the sale was over an auction disposed of the few articles remain- 
ing. President Glena Pritchard, who had the entire supervision of the 
affair, was happy, and breathed a sigh of relief when the day came to 
an end. 

At the dance the same evening about forty couples were present, and 
danced till the familiar strains of " Good-night Ladies" dismissed them. 

Mrs. Flanders, Mrs. Dennee and Mrs. Avery, Miss Wheelock and Mrs. 
Ferguson were the patronesses. 

We, the members of the Sorority, wish to take this opportunity to 
express our thanks to those who so kindly gave their aid and support, and 
who are so largely responsible for the social and financial success of this, 
our first Annual Bazaar. h. c. p. 

M. v. S. 



Alpha Chi Omega Sorority 

Founded De Pauw University, Greencastle, Ind., October 15, 1883 



De Pauw University .... 

Greencastle, Ind. 


Albion College 

Albion, Mich. 


Northwestern University .... 

Evanston, 111. 


Allegheny College ..... 

. Meadville, Penn. 


College of Music, Univ. of So. California 

Los Angeles, Cal.- 


New England Conservatory of Music 

Boston, Mass. 


University of Michigan .... 

Ann Arbor, Mich. 


University of Illinois .... 

Champaign, 111. 


University of Wisconsin .... 

Madison, Wis. 


University of Syracuse .... 

Syracuse, N. Y. 


Simpson College ..... 

Indianola, Iowa 


University of Colorado .... 

Boulder, Col. 


University of Nebraska .... 

Lincoln, Neb. 


Bucknell University .... 

Lewisburg, Penn. 

Alumni Chapters : Chicago, Indianapolis and New York 


Active Members 

Carrie Aiton 

Louise Daniel 

Lesley Newton 

Edith B\y 

Josephine Durrell 

Carrie Ormerod 

Evangeline Bridge Alice Faunce 

Liela Preston 

Edna Boicourt 

Lillian Goulston 

Jessie Swartz 

Olive Cutter 

Florence Larrabee 

Elizabeth Schaetzel 

Nellie Cutler 

Catherine Montgomery 

Margaret Webb 

Anna May Cook Alice Mustard 

Hazel Wing 

Brenda Newton 

Honorary Members 

Mrs. H. H. A. Beach 

Mme. Helen Hopekirk 

Miss Margaret Ruthven Lang 

Miss Maud Powell 

Mme. Antoinette Szumowska 

Mme. Fannie Bloomfield-Zeisler 
Mme. Julia Rive-King 
Mme. Adele Aus der Ohe 
Miss Ellen Beach Yaw 
Mme. Maria Decca 

Miss Adela Verne 
Associate Members 

Mrs. Pauline Woltman-Brandt Miss Clara Tourjee-Nelson Mrs. Ralph L. Flanders 
Miss Mabel Stanaway Mrs. Charles White Miss Sarah Maud Thomas 

^ 100 ...T^t Wl^tnmt... 1909 Cr^ 

Alpha Chi Omega History 

HE Alpha Chi Omega Sorority was founded in Greencastle, 
Ind., in 1885. There are now fourteen active chapters, most of 
them in universities. Zeta Chapter, the only one in a purely 
musical school, was installed in the New England Conservatory in 1895. 
Our chapter has had many changes in its history, among other things a 
change of dwelling, from the old Conservatory building in Franklin Square 
to the splendid new building on Huntington Avenue. During the busy 
years at the Conservatory, Zeta has had many pleasant social functions, 
some of which have been enjoyed by our friends. One of our social fea- 
tures has become a permanent event in our life at the Conservatory — the 
Musicale and Reception, which we give each spring. At our annual 
luncheon w^e have an opportunity to see some of our alumnae and associate 
members ; and occasionally one of the four honorary members living in 
Boston meets with us at this time. 

The serious side of our chapter life can only be hinted at. There 
have been successes and failures in our career, but our aim is ever to 
uphold the standards of Alpha Chi Omega. The Zeta girls find especial 
inspiration from the fraternity open motto, "Ye Daughters of Music Come 
up Higher." Our loyalty to, and love for, musicians makes us enthusiastic 
over plans which are being made by the Alpha Chis to build a studio at 
the MacDowell Memorial Home, at Peterborough, N. H. Before the 
end of this school year Zeta expects to send a contribution to be added to 
that of her sister chapters for this purpose. We hope later to be able to 
endow a studio in the MacDowell House in New York City. 

^ 102 ...T^t mtnmt... 1909 


HTHLETICS, though young in the New England Conservatory^ 
are none the less strenuous during the spring and summer months. 
Until the spring of 1907 no particular interest was shown and 
nothing definite done. At that time, how^ever, an enthusiastic tennis wave 
seemed to sweep the dormitories, and under the hearty instigation of Miss 
Frances Peabody, Louisville, Ky., and Miss Elinor Markey, Frederick, 
Md., a tennis club was formed. 

Every detail was systematically carried out for a successful tourna- 
ment, w^iich took place the first week in June. The three halls. Frost, 
Dana and Gardiner, competed in both singles and doubles, the prize for 
singles being a ^' Pim " racket, and for doubles, handsome penants. 

Enthusiasm never reigned more thoroughly on any athletic field than 
on our tennis courts the first week of June 1907. The three halls vied with 
each other in yells, songs, pennants and colors. 

Dana was the victorious hall in 1907 in both singles and doubles, Miss 
Frances Peabody defeating in singles. Miss Fannie Dubois, Paris, France, 
for Gardiner, and Miss Alberta McCloud, Xorth Adams, Mass., for Frost, 
while Miss Peabody and Miss Hazel Phillips, Laconia, X. H., won the 
doubles over the Gardiner and Frost contestants. 

In the spring of 1908 Elinor Markey was made President of the club, 
and through her able management cups were offered in the 1908 tournament. 
Mr. Charles Dennee kindly offered a cup, to be known as " The Dennee 
Cup," for the winner of the singles that year and those ensuing ; while 
Mr. Ralph L. Flanders offered a handsome silver 22-inch cup to the hall 
three times victorious. 

Annelu Burns, Selma, Florida, representing Frost Hall, won the 
singles in handsomely contested games with ]Miss Peabody, of Dana, and 
Miss Dubois, of Gardiner, — w4iile Miss Dubois and Miss Mabel Davis, 
Cincinnati, Ohio, w^on the doubles for Gardiner. 

The weW distributed victories caused mutual happiness, and steps are 
already being taken for this year's contest. 

F. R. 



The New England Conservatory of Music 

Athletic Association 


On the afternoon of May 12, 190S, there met in the rooms of Alpha 
Chapter, Sinfonia, a goodly number of the male students of the Conserva- 
tory, for the purpose of instituting some form of athletic enterprise. For 
a long time past there had been felt, by nearly every man connected with 
the Conservatory, the vital need of some form of physical training, at least 
for out-of-door exercise. It was not alone for the individual concerned, 
but for the Conservator}' as an educational institution of the most modern 
tvpe, that this effort was made to organize some sort of club for physical 

After short discussion a committee of five men were chosen to draw 
up a Constitution and report at the next meeting. A committee was also 
appointed to procure subscriptions for building and laying out a tennis 
court on land of President Jordan, adjoining the Conservator)- building on 
the south. President Jordan very graciously offered the use of this land 
for an indefinite period, and to his generosity much of the success of the 
Association is due. 

On May 15th the Constitution Committee reported to a large number 
of the students and teachers assembled, and the present Constitution was 
adopted. Here follow the first four articles of the Constitution as adopted : — 


a me 

This orofanization shall be known as the Xew E norland 
Consers atorv of Music Athletic Association. 



The objects of this Association shall be to afford whole- 
some recreation for its members : to meet the need of physical 
exercise, and to promote fellowship among the men of our 
Alma Mater. 

106 ^^.Z^t l^tnmt.^^ 1909 



Section i . The membership of this Association shall be 
limited to male students, teachers, and other men directly 
associated with the Ne^v England Conservatory of Music. 

Sect. 2. There shall be one form of membership, /. 
active, open to all male students and teachers and other men 
associated with the New England Conservatory of Music 
upon payment of annual fee of $2.00, and initiation fee of 
$1 .00. 

Sect. 3. Election of members. 

Members shall be elected by ballot and a two-thirds vote 
of all members present shall be required for election. 



Section i . The elective officers of this Association shall 
be President, Vice President, Secretary, and Treasurer. All 
officers shall be elected at the regular annual meeting^ of the 

Sect. 2. There shall be a Prudential Committee of three 
members, to consist of the President of the Association and 
two others to be elected annually by ballot at the regular 
meeting. It shall be the duty of this committee to expend 
necessary money for maintenance of grounds and for other 
contingent expenses relative to the management of the 

At the next meeting the following officers were elected for one year : 
President, Charles H. Doersam, Boston; Vice President, C. Pol Plancon, 
Boston ; Secretary, Henry Lingley, New York City ; Treasurer, Horace 
Whitehouse, Lorain, Ohio ; Prudential Committee, Harlowe F. Dean, 
Stockbridge, Mass., and William B. Tyler, Brookline, Mass. 

On May 2 2d the Subscription Committee reported subscriptions to 
date amounting to $80.00 ; this much to the satisfaction and encourage- 
ment of all present at the meeting. It was found at this time that almost 
the entire faculty and student body were in sympathy with the movement, 
and upon this interest depends, of course, the future of the Association. 

108 ^..T^t la^tnmt^^^ 1909 

One or two meetings were required to perfect organization and adopt 
By-Laws, and when this was accomplished there was manifest a very strong 
desire for something besides conversat ionals , As the tennis court had 
been in process of construction for several days, and was beginning to look 
real, the desire for play had increased. It was decided to open the court 
in a fitting manner, and a committee of men was appointed to provide enter- 
tainment and conduct the exercises. This committee consisted of the 
following students : Messrs. DriscoU, Lingley, Harrington, Gorman, 
Whitehouse, Snow and Hawkins. 

The Opening 

It was an afternoon long to be remembered. The wind blew not less 
than at the rate of thirty miles per hour, and the dusty and unused court was 
crowded with visitors of both sexes. The opening event was a selection by 
the Athletic Association Brass Band of ten pieces. It w^as a great surprise 
to all that so much talent, of the brassy order, could be assembled in so 
short a time. The band was directed by Mr. Homer C. Humphrey, of the 
faculty, who played tuba and directed with his left foot. All of the 
instrumentalists were artists of one kind or another ; some were excellent 
baseball players, others had, at one time, been adepts at ping-pong. Noth- 
ing but praise was given the band and Mr. Humphrey is now recognized 
as a director of no mean capability. 

The opening game was played by the following teams : Mr. George 
W. Chadwick, Musical Director of the Conservatory, and Mr. Percy J. 
Hunt of the faculty, vs, Messsrs. Carl Peirce and Armand Fortin, both of 
the faculty. There was much excitement evidenced during the play, and in 
consideration of the condition of the court and the ferocious wind, much 
skill and dexterity were shown by each player. 

Mr. Chadwick is of the "old school" of tennis, but is still able to 
hold his own. By his cool-headed, well-timed strokes, he demonstrated 
that tennis is as much a game of the head as of the arms and legs. Mr. 
Chadwick is much in sympathy with the Association's endeavors, and has 
done much toward assisting this latest movement toward a permanent 
equipment. ]Mr. Peirce and Mr. Fortin were both earnestly desirous of 
winning the match and fought hard to the finish. They were not equal to 
the task, however, and lost the match by a good margin. Mr. Fortin and 
Mr. Peirce were not novices at tennis, but they found great difiiculty in 
getting the ball beyond Mr. Hunt's racket. It seemed that Mr. Hunt could 
stand in any one position and reach to any quarter of the court. iVt the 

1909 ♦♦♦fflftf Mtumt^^^ 109 

net " Mr. Hunt was very expert, and his long arms served him with great 
accuracy, which, together with the splendid support of his partner, Mr. 
Chadwick, made them easy winners. 

During the afternoon peanuts were devoured by all except the contes- 
tants, and it is said that the lame muscles of the players were quite painful, 
but not so much so as were certain other muscles of those who overdid in the 
matter of peanut eating. Several of the men complained of " peanut-itis." 
The balloon ascension was in control of Mr. Percy J. Burrell, who con- 
trolled things very nicely until the time for the actual ascension, and then 
the elements interfered. There were four balloons, one for each of the 
dormitory halls, Gardiner, Dana and Frost. The Athletic Association 
balloon was of the color of the Association's chosen shades, yellow and 
white, and it was hoped that the race would be exciting. Frost Hall bal- 
loon did succeed in rising to the tremendous height of ten feet and traveled 
out over the adjoining lot. The prize was awarded to Frost Hall. At the 
close of the game there was much speculation as to the future of the Asso- 
ciation, and many felt that after so good a beginning it would be very sad 
if the enthusiasm should wane. 

The Tournament 

Late in the season a Tournament was held in which sixteen members 
contested. The first games were played during the week, and on Saturday 
afternoon the finals were played by Messrs. George B. Bridenbaugh and 
Guy E. McLean. The prize offered was a preferred make of tennis racket, 
which was the gift of Mr. Doersam. It was a hard fought battle. Set 
after set were played and neither could land a win. Even the onlookers 
were fatigued, and the players were almost exhausted when Bridenbaugh 
won the deciding game. Mr. Bridenbaugh was the recipient of many 
congratulatory remarks and was highly commended for his successful fight. 
Both players showed great endurance and stick-to-it-iveness. 

The semi-finals were played by the following members : Guy E. 
McLean vs. Horace Whitehouse ; George B. Bridenbaugh vs. Edward T. 
Berry. The official referee of the Tournament was Mr. F. Otis Drayton, 
President of the Class of 1908. 

The court was used during the entire summer, and the season closed 
with no loss of enthusiasm on the part of the players. 

^^110^r »rtttnc.^. I909 

The Future 

There is no need of attempting to justify the Athletic Association in 
the eyes of any thoughtful man, whether musician or of any other profes- 
sion. The fact that nearly every person invited to subscribe to the support 
of the Association willingly did so, is proof in itself of the recognition of 
the propriety of such an organization. The Association needs the financial 
and moral support of every man connected with the Conserv ator}-, whether 
teacher or pupil, and is ver\- fortunate in having the assistance and approval 
of the business manager, Mr. Ralph L. Flanders. 

H. F. D. 

Silky and Sleeky 

A Sly Frolic at the Costume Carnival 

Alumni Chairman — Annual Costume Carnival 

IXCE the night of January 26, 1909. the date of the Second 
Annual Costume Carnival given complimentarv to the Conserva- 
tor)- students, by the Alumni Association and the Management, I 
have wondered if anyone saw a couple on the floor that the writer espied. 
If I believed so I should never have permitted the irrepressible Doersam to 
have inveicfled me into trvincr to write another Carnival article. 

These two, of whom I speak, were the smallest couple present. Thev 
entered unheralded and unheeded — the first to come, the last to go. They 
applied for no tickets, and yet without them, and despite Messrs. Hunt 
and Dennee's strictest enforcement of the hall rules, this couple was at the 
Carnival, and enjoyed the rare spectacle as much as, and perhaps more 
than anyone else. 

I saw them first, during that magnificent grand march, as we entered. 
Thev were sittincr in the extreme corner of the ricrht of the hall, close to the 
stage. Their long, slender tails at once attracted my attention, and my 
eye following what I thought were pieces of wire I found, to my surprise, 
growing and growing until they fattened out and lengthened into two tiny, 
long, round bodies, with four short, little legs, and two pointed heads ; lo ! 
two little brown mice. What a time thev were having ! My first impulse 
was to halt the march, and ask them how they got in without a ticket. 
On second thought, however, it occurred to me that possibly Mr. Fortin 
had fixed up some noveltv for divertisement on the program. Finally, 
I bethought myself of the ladv on mv arm, and the discomfiture peculiar 
to one of her sex that such an interruption and disclosure might provoke. 
So I passed by. and marched on, but did not forget. 

Doubtless you recall that Mr. and Mrs. Flanders leading from the 
left, and Miss Gilbert and Mr. Burrell leading from the right, met in the 
center of the hall, and four abreast in the glowing flood-light of many 
calciums the oT-and march becran. and the Carnival was on. Then came 
eight, and finally sixteen abreast, until the vast hall was so filled with a 
moving mass of bewildering, gorgeous color that couples in the foyers 
could not find their way in to join in that march. From the balconies, 
'tis said, it was a spectacle unseen before, and never to be forgotten. At 

^ 1909 ,.,T'^t JUtumt,., 113 Cr^ 

least one would judge so from the expression I noted on the faces of my 
two little four-legged friends, whom, as we swung into sixteen abreast, I 
saw almost hidden away in a narrow niche under one of the statues above 
the second balcony. Somehow or other thev had succeeded in eludins: the 
keen-eved guards stationed at the stairways, and had found a wav up to 
a place where their sharp, bright eyes were just bulging from their tiny 
heads. How their tails did wigs^le. and hit the feet of old Demosthenes ! 

The grand march ended. In the merr\- whirl of the "Waltz Dream" 
I forgot, for the moment, my httle quadruped spectators. It was during the 
bam dance that I took a rest, and sat back under the balconv. Couple 
after couple, from all nations under the sun, in 

all kinds of festive garb, — original, grotesque, SJ^^T^y ^ ^ ?fC^^ 
historical, quaint, dazzling, rarest kaleido- 
scopic maze — well-nigh one thousand came 
running, hopping, tripping, dancing, whirling 
on aroimd. All these and more, for my two 
brown mice, dancing on their hind legs, with 
their little, long tails whipped about each 
other's neck, came merrily along in perfect 
rhythmic rime in the bam dance. A second 
and a third time they danced around the hall 
close to the wall. Mv sides nigh split with 
laughter. \\Tien the of the music ceased the midget dancers hap- 

pened to stop right close to my seat, and I chanced to overhear the follow- 
ing short conversation before I was obliged to apologize to Pocahontas for 
not being able to find her for the last dance : — 

She : Oh. dear. Sleeky I " 

He: ^-Oh, my. Silk>- ! " 

She : " Doesn't the bam dance tire one so? " 

He : Yes. it does, but isn't it fun?" 

She : '"Sav. Sleeky, do you know you put your big foot 
right dowTQ on my new golden slipper three times while 
you were dancing just now ? " 

He : ''I did? Well, Fro sony*. but I know how it was. It 
was when old Rip Van Winkle stepp>ed on my tail." 

She : -•Now. Sleek}-, when we dance the Duchess, next, I 
want you to ." 

Here I saw her coming, and I arose to apologize. 

( p> 114 ...T'^t mtnmt.., 1909 (T^ 

Dance followed dance, and the thrill of buoyant enthusiasm throbbed 
in every dancer's breast. The couple in miniature that hugged the floor 
so closely were again forgotten, until at the first "buffet" respite. Here I 
heard them drinking coffee up in a corner behind my chair. I heard 
Silky complain to her partner because there were no finger bowls, and 
then glancing down I saw her wiping her wee paws upon the skirt of some 
ancient Xorse queen. 

Now the orchestra sounds forth, and the dance is on again. It is a 
two-step — Dixie ! Do you carnivalists remember that Dixie-land yell ? To 
me it was the most spontaneous, heartiest outburst of real, true emotion of 
the evening. How matchless its spontaneity ! And here it was I made a 
disclosure. My little pets (for I was beginning to cherish a real fondness 
for them) hailed from the South. They were visitors up North. How 
they did yell their lungs out, and wave their shiny, cute tails above their 

tiny brown heads, from under a chair by the wall I Then they clasped 
each other in their little, short arms, and w^hisked off along the floor-wall 
route. And we followed on. Oh, was it not a great two-step — a thriller ! 
The two brown mice thought so. 

As the time for the awards grew near I began to w^onder if the judges 
had noted this midget couple, and if they w^ould be eligible. They were, 
indeed, original enough. But no, they had not been seen by even those 
alert and painstaking judges. I looked for Silky and Sleeky at this time 
of eager suspense, electrifying announcement and enthusiastic approval. 
As the names of the two best historical characters, Miss Jane Foretier and 
Mr. Charles Dennee wxre read off, and these two came swinging along, 
marching arm in arm down the center of the hall, where hundreds of 
joyous revellers swarmed about the ropes on either side of this prize prom- 
enade parade ground, lo ! our two teenty w^eenty friends ran out from under 
the piano on the stage, and taking a position directly behind Mr. Howard 
Walker, the announcer, they jumped up and down in gayest, giddiest glee. 
I heard Sleeky say, "Do you know. Silky, that 1 would rather see this 
than a pound of cheese I " And we all felt the same. 

1909 ♦♦^gl^r IttCKWe^^^ . 115 ^^j ) 

Alany times during this crown event of all dances in this part of the 
country — the Conservatory Costume Carnival — I caught a glimpse of Silky 
and Sleeky. After the third buffet intermission I spied them out in a 
corner of the foyer eating a sandwich together ; I saw them in the Merry 
Widow^ dance a-whisking around like the very Old Xick. I, too, stepped 
on Sleeky's tail in the next barn dance, and before I could say, "excuse 
me," I saw him turn around and glare at Dr. and Kaiser Jeffery. Once I 
heard Silky sneeze when she caught full in her face the cold blast from 
the big brass French horn : and in the \vee sma' hours, near two o'clock, 
during those ever-lingering strains of the beautiful Blue Danube, my partner 
and I danced all around the big hall with Silky and Sleeky a-waltzing on 

our very heels. The baton in Mr. Poole's hand fell in a down beat for 
the last time. The costumed crowd cheered, and called for more. The 
midget visitors, who came unheralded and unheeded, stamped their eight 
little feet upon the waxen floor, but they were not heard. The Costume 
Carnival of 1909 was at an end. 

Silky and Sleeky slipped out quietly from under the Huntington 
Avenue steps of Symphony Hall, and whistled for a taxicab. I think that 
they must have escaped from the vehicle opposite the Conservatory of 
Music, for the writer saw them a-scampering down the tortuous hallway 
of the Hotel Bartol, as he dragged himself along to bed, and to rest. 
What a sly frolic the two little brown mice had had ! And you didn't see 
them? I am sorry. They will be there next year. You watch out when 
the orchestra starts up the barn dance. 


♦ ♦♦ 



"A Holiday in Jail" 

A Burlesque Report of a Burlesque 


Boston, March 27, 1909. 

"I AWOKE one morning and found myself famous." This reminis- 
cence in Byron's diary may well be adopted by Percy J. Burrell and all the 
Sinfonians responsible for the origination and performance of the musical 
travesty given by the Sinfonia, in Jordan Hall, for the benefit of a scholar- 
ship fund. 

A Holiday in Jail " is an ultra-modern play, and, of course, there is 
no plot. But there is a huge complot of stunts, jokes and grinds, irresistibly 
strong in their tendency to overpower the unsuspecting. A crocodile 
would shed tears, a lobster grin, and a pair of rhinoceros twins double up 
from laughing. 

It is a perfect microcosm, as kaleidoscopic, as suggestive to him who 
knows. And it would seem arrogant to try, by means of superlatives, an 
improvement of the expression of praise and admiration which has been so 
skillfully condensed by the great William to these few and significant words : 
Well roared, lion(s), roar again I " 

In examining the cast, great caution should be exercised, in order to 
avoid any damage to the eyesight ; a short glance at a time will be sufiicient 
to reveal a milky way, dazzling and blinding, from resplendent stars of the 
first magnitude. That most of these stars are generis masculini is easily 
explained by the fact that the "Sinfonia" is a Garden of Eden without 
any apple trees in it. But, nevertheless, " cherchez la fem?ne!'' 

A g^ood Sinfonian will sacrifice all his ribs rather than exist twenty- 
four hours without the inspiring and elevating company of what has been 
acknowledged to be the masterpiece of our creation, and what Mr. Adam 
Where- Art-Thou was lucky enough to secure at the ridiculous bargain 
expense of but one single rib. From which it follows that our young 
priests of immortality deemed it a physico-astronomical necessity to adorn 
their thespian firmament with some glorious double-star generis feminini^ 
which would be capable of making the solar system well balanced. And 
the astronomers did not encounter o^reat difficulties in discoverino^ what 
they were looking for; viz., Edith R. Nickel, the Salvation Army lass, 
and Lillian Goulston, the Topsy. 

Edith is, indeed, the most interestiiig and fascinating Nickel imagin- 
able, which will be admitted by any reliable expert on coins. Undoubtedly, 
the nickel stolen by Con\-ict Xmnber i must have been of a similar kind. 

and. it seems to me. that any true Mormon should be glad to have his salaiy 
paid out in such Nickels. Above all, it is gratifying to witness that the 
inner value of a small Nickel is, under circumstances, large aioi^;fa to 
bring salvation, not only to a hungry stomach, but also to a broken heart. 

118 ...Tl^t JUtnmt..,. 1909 

as it did to that p>oor devil who had been imprisoned for six long 3-ears 
without being guilty. Fortunately, all ended well. The innocent con\-ict 
was pardoned, not, however, before having been kept in suspense, most 
cruelly, for three long acts. An annuity of $1,000 was granted to the boy 
by the State of Massachusetts, and, to make happiness complete, he wins 
his dear Salvation girl's hand and heart. 

And now, what's the matter with Lillian, the Topsy r She's all right ! 
Is it possible that we harbor such a dainty little fain*- among us who seems 
to belong to a kingdom of elfs, butterflies and humming birds? What are, 
in comparison with her, Madame Salvioni and all the other prima bal- 
lerinas? What Cleo de Merode, Salome and, last, but not the least, 
Isadora Duncan : They are not in it ! And I was not a bit surprised to 
see the audience bewitched and topsj-turvey b}' the trills, roulades, and 
saltos, as exhibited in Topsy's unique toe-tip juggles. 

When leaving the hall I happened to overhear the soliloquy of some 
present impresario, constantl}- hunting after stars, and I am indiscreet 
enough to give it awaj- : — 

" Shall I engage Miss Edith Nickel, 

Or shall I choose Miss Goulston Lillian? 
To have them both, it would rae tickle, 
A peach is each, and worth a nnillion I " 

In this critical moment a terrific explosion was heard, by the way, 
resulting from a dynamite bomb placed by mean hands within the yet 
unfinished structure of the Boston Opera House. Everj-thing within the 
radius of one mile was shaken up as badl}- as in a genuine earthquake. 
Our most esteemed impresario had disappeared like by magic, and I saw 
myself deprived of the opportunity to fathom to what kind of conclusion 
he may have arrived. 

Instead, a sensation came upon me like sinking into an ocean of pro- 
found considerations, contemplations, meditations, speculations, calcula- 
tions, reflections, examinations, beholdings and views with regard to the 
possible and probable ethical, social, political, poetical, practical and ped- 
agogical aims and purposes of A Holiday in Jail." 

If it was the author's desire and ambition to demonstrate that the life 
in a prison, and in a Conservator)' especiallj^, is not half so strenuous as, 
e. g.^ Ex-President Roosevelt and other ex-traordinar}' celebrities have been 
feeling inclined to think, he succeeded completely, I believe. I am sure 
I am right, unless I am wrong that I am sure, which would be the case if 
it should happen that the following menu of legal and illegal holidays 

120 .,.Z'^t mtumt... 1909 (Ty 

could possibly ever not satisfy the palate of the most spoiled music bent 
prodigy, viz. : — 

(1) Christmas vacation. 

(2) Easter vacation. 

(3) Summer vacation. 

(4) Legal birthday celebrations. 

(5) Legal battle celebrations. 

(6) Legal peace celebrations. 

(7) Half holidays of every description. 

(8) Half holidays beyond description. 

(9) Missed lessons, to be excused on account .of 

(a) Oversleeping, owing to a spoiled alarm clock. 

(6) Sore throat, from sleigh ride or automobile night party. 

(c) Sore hands, from canoeing or tennis party. 

(d) Sore feet from dancing or bazaar party. 

(e) Headache, from Costume Carnival party. 

(f) Toothache from fudge party. 
(£) Insomnia from lack of sleep. 
(A) Rheumatism from young age. 

( i) Orchestra job at Food-Sport- Auto or Moving Pictures show. 

(/) Solfeggio, Theory, Analysis or Harmony examinations. 

(Jk) Meetings of every possible and impossible description. 

(/) Receptions (ditto, with ice cream). 

(m) Recitals of some great artists. 

(«) Sensational baseball, football or circus affairs. 

(t>) Unexpected visits of old aunties or young cousins. 

(p) Celebration of memorials, birthdays, regular, silver or 

golden weddings, and other accidents. 
(^) And so forth, and so on, in injinitutn. 

From the above can be seen that every possible effort has been taken 
by the authorities to accommodate the students of art in every existing 
direction of comfort. Those few days which are scheduled for regular 
school work will, indeed, not cut any ice ; so much less, as there are yet 
about one hundred and more ways and chances of skipping lessons in a 
most graceful manner, and of having a glorious, bully, old time. 

And what is the moral of it all? That an annuity of $1,000 should be 
granted by the state to any person who, for six or more years, studied at a 
Conservatory of Music without being guilty of any suspected talent. 

Tlie Curriculum of a School of Music 


elCHARD WAGNER once indited a long epistie to the King of 
Bavaria on the subject of an ideal music school in Munich. The 
gist of Wagners advice was to the effect that a music school 
should be, first of all. a school of singing : that it should also have depart- 
ments for the stage, for pianoforte, and for orchestra, and each under its 
own director ; that it should provide for model performances of master 
works, especiallv operas. — and it is quite clear that he had specially in his 
mind his own operas. He would relegate the entire technical instruction 
to private teachers, affiliated and in sympathv with the school, but not 
necessarily in it. This p>osition seems to be sound, except in the case of 
theoretical studies, which may be pursued with great profit in a class, pro- 
vided it is carefully selected. Thus we see that the science of pedagogics 
has little to do with the Wagner music school. It has, however, some- 
thing to do. and a good deal, too, with the subject under present considera- 
tion — the ideal school of music. And since, as I believe, the American 
student of music is of a radically different genus, or, at least, species, from 
those of European countries, we will consider the subject particularly with 
reference to an American school. This ideal school, so far as I know, 
does not yet exist in this countr\-, but for convenience' sake we %vill assume 
that it does exist, and refer to it in the present tense. 

What branch of education requires a more comprehensive training of 
all the faculties than the study of music? The eye. the ear, the touch, 
the memon^-, the perceptive and anahtical faculties, and, above all, the 
imagination and the emotional sensibilities, all must be highly trained 
and converted to intelligent obedience, in order to develop the musician 
of efficiency and authority. Our music school, therefore, is practically 
a university : that is, a school of aesthetics, a technical school and. to a 
certain extent, a school of pedagogics. And since it is through the sense 
of hearing, either physical or mental, that music makes its appeal, it fol- 
lows that musical education begins with the training of the ear — both the 
physical and the mental. 

Ear Training 

This is accomplished by the gradual development of the sense of pitch, 
the sense of rhythm, and the sense of tone qualit\-. This is not the time, 
nor is k necessary, to point out hcrx it should be done. Any system of 

122 ...T'^t JUtnmt... 1909 Cr^ 

si^ht-singing:, solfegono and dictation is a grood one if it teaches the student 
to form a mental picture, first of scale degrees, then of intervals (independ- 
ently), then of harmonic combinations, and at the same time develops a 
realizing sense of the time values of notes and rests, especially those of 
small value. The average student usually guesses at the time value of a 
group of notes or rests by the amount of ink thev contain, and when they 
are thirty-seconds and sixty-fourths, especially if anv are dotted, he loses 
his head altogether. 

The main thing is to get the student to hear through his eyes and see 
through his ears, and this is accomplished with equally remarkable results 
by the French system of solfeggio, by the English sol-fa, or by the Ameri- 
can public school work system, as exemplified in Hartford, Conn., for 
example. But it is of the utmost importance that this discipline begin 
early in life — the earlier the better. When the brain-centers which control 
those faculties have been neglected until mature years, they are difficult to 
stimulate, and in such cases it is exceptional for them ever to become xery 
efficient : while, on the other hand, it is only a small proportion of children 
that cannot acquire the sense of relative pitch and of rhythm. 

Rud iments 

Side by side with this work goes the study of rudiments of music {All- 
gemeine Musiklehre)^ beginning with the ph^'sical laws of sound, and 
includincr the theory of notation, and all matters of ornamentation, embel- 
lishment, abbreviation and nomenclature. There is no single department of 
musical study where these " little foxes " belong, — unless it be composition, — 
and they are quite likely to escape notice unless taught as a separate study. 
The ignorance of some gn-eat musicians as to these small matters of detail 
is sometimes amusing. In fact, it is safe to say that it is only the proof- 
reader who knows it all, and how many times does he cause the proud 
composer to eat humble pie I Composers are notoriously bad proof- 
readers, but their shortcomings are often due to lack of exact knowledge 
of details. 


These studies lead directlv to that of harmony, which ought to be 
learned, at least in its elementary form, by all students of music. And, 
here again, it is not for me to prescribe a method by which the knowledge 
of this ver}- warp and woof of music is to be acquired. As the training of 
the literary man consists largely in learning the weight of words, so the 

1909 ...T'^t 'ntumt.,. 123 Cr^ 

harmony student must learn the subtle significance of chords as well as the 
laws of their jorogression. 

There are many students who can learn from a simple treatise on 
figured bass all that is necessary or good for them to know about this sub- 
ject. On the other hand, some students have such an intuitive feeling for 
tone-relation that they may make more progress by studving practical com- 
position, almost from the beginning, than by learning harmony from a 
text-book. But in any case, it is indispensable that the student be thor- 
oughly trained in the harmonizing and accompanving of melodies, both 
vocal and instrumental. In the matter of counterpoint, 1 would not insist 
on any one method. We know that composers are not made by the study 
of an arbitrary system, like strict counterpoint in the church modes, but if 
the object of study in composition is to acquire a command of the poly- 
phonic style, such studies are of a great advantage : besides, when pursued 
by one who has already been thoroughlv trained in the harmonic progres- 
sions in the major and minor modes, thev have a strong tendency to 
broaden his harmonic knowledge, and to g:ive him a sfreater vocabularv of 
modern harmonies and modulations than may be acquired in any other 
way. Tt is, perhaps, well that these studies be preceded by thorough 
training in modern part-writing, — by which 1 mean that which is founded 
on Bach, especially the chorales and the forty-eight preludes and fugues. 


In the highest sense musical composition cannot be taught, although 
in^•ention may be. But its study mav be so guided and directed by a wise 
and sympathetic teacher that the student will gain his experience for himself. 

As before stated, I believe that these studies may be pursued with great 
profit in a class, provided sufficient time is given to examine the work of 
each individual. This is partly because the general principles of theoreti- 
cal work may be explained as easily to many people at once as to a single 
person ; also, because the individual expression of each student is necessarily 
interesting to all his companions, and, therefore, the element of emulation 
and mutual encouragement is of great value to him. As long as the arbi- 
trary rules of harmony and composition can onlv reflect a portion of the 
principles of art, there will always be many things which are not com- 
municable, and, therefore, manv suggestions and corrections must necessarily 
be made on the score of good taste and expediency alone. Students who 
are not susceptible to the logic of such explanations, but who insist on the 
letter of the law, while not understanding its spirit, should be discouraged 

124 ...T^t Jttuntt... 1909 Cr^ 

from attempting the study of higher composition. There is another class 
who are the despair of the conscientious teacher. I mean the kind whose 
vice is industry and whose industry is vice," as Whistler says, who write 
barrels of notes, with never a thought behind them, and delude themselves 
into thinking they are composing. They usually begin with a symphony 
or an opera, and they cast a pitying eye on all old fogies who fail to appre- 
ciate its beauties. 


The study of musical history, and especially of biography, is one of 
the greatest incentives and encouragement that a student can have. Such 
studies can also be pursued with great profit by those whose talent for 
listening is greater than their technical ability. 


In the matter of the technical study of singing, of the pianoforte^ 
organ, violin and orchestral instruments, I agree with Wagner, who would 
relegate such instruction to private teachers. When students are sufficiently 
advanced to make their principal study that of interpretation, they may^ 
study together in a class with great advantage. A conscientious student may, 
of course, derive benefit from hearing the mistakes of others corrected, espe- 
cially if he is studying the same piece, but his time may be more profitably 
spent in practicing or in studying his own lessons. A conscientious teacher 
influences his pupils so much by his own personality, and by the power of 
his own magnetism, that much power is lost if it has to be divided among 
the members of the class, and lessons should be frequent enough to keep 
the student thoroughly interested, and of sufficient duration to give him a 
thorough understanding of the subject in hand. 

All students of music, without exception, should be able to play the 
pianoforte to some extent. It is the key which discloses the secrets of 
composition, and assists the student to understand not only his own part, 
but the composition as a whole. All pianoforte students should be required 
to play accompaniments, especially for a chorus, to practice music for two 
pianos, to study trios, quartets and quintets, when they have sufficient tech- 
nical equipment. Above all, they should be taught to listen to their own 
performances, to judge carefully of their quality of tone, and to make a 
careful study of the different effects possible with the modern pianoforte by 
the use of the different pedals. But, if hampered by a poor hand or 
phvsique, or by a late start in their musical life, or by other insurmount- 
able obstacles, they should not expect to become virtuosi, even if musically 

1909 ...r^t mtumt... 125 0=^ 


The technical work of organ study also requires private teaching. It 
is a singular fact that most of the American composers who have arrived 
at recognition have been organists, or at least students of the organ. 
MacDowell was a notable exception. If these musicians had been born in 
Germany instead of America, they would probably have started with the 
violin, if in Italy w4th singing, or if in France, perhaps in the theatre. It 
is probable that the religious life of the last generation may have had a 
tendency to produce the organ-playing musician, but in the case of orches- 
tral composers, it is also probable that the variety of tone-color which can 
be produced from an organ attracted them in the direction of orchestral 

It is indispensable that the student of the organ should have a thor- 
oughly well-grounded pianoforte technic before beginning the study of the 
organ. The objection which was formerly raised against the study of the 
organ by pianoforte students, on account of the heaviness of the tracker 
action, is no longer valid, as the electric or pneumatic action of the modern 
organ is in no way demoralizing to pianoforte technique. From the very 
nature of the organist's calling it is necessary that he should be of sound 
learning in the theoretical branches of music. He should not be content 
with a mere working knowledge of fundamental harmony. He should 
know counterpoint, canon and fugue, and, if possible, be a practical com- 
poser, at least of church music. He should also have such a fine sense of the 
fitness of things as to resist the temptation to perform operatic and dramatic 
works on the organ, which may be much better produced on the yEolian. 
Not that all orchestral and other transcriptions should be debarred from 
performance on the organ. There are such pieces which are not incom- 
patible with its technique or inappropriate to its dignity, but it is doubtful 
if they are as numerous as those works of Bach which are worth playing. 


As in the case of the pianoforte, I believe that everybody should study 
elementary singing, and that the technical part of the work should be done 
under a private teacher. But neither the affection of relatives or the 
admiration of friends, however sincere and well meant, should tempt the 
possessor of a weak or harsh and unmusical voice to expect a public career 
as a singer. These causes, combined with the wicked flattery of singing 
teachers, especially in Europe, account for the many pathetic, artistic, and 
sometimes moral wrecks to be found in the community. Singing, like 

126 ^^^Z^t Wi^tnmt^^^ 1909 

dancing, is the natural expression of the musical nature, and everybody 
can sing^ although there are many voices that were not intended by the 
Creator to give pleasure to others, except in a chorus ; but from singing, 
the musician, whether composer or instrumentalist, learns the fundamental 
principles of phrasing and of expression, and his voice should be sufficiently 
trained so that he can give expression and illustration to a phrase in a not 
too disagreeable manner. For the conductor, whether choral or orchestral, 
singing is indispensable. The numerous matters of detail which may be 
learned by singing in a chorus, under an able conductor, can hardly be 
brought to the student's attention in any other way, except by playing in an 

The difficulties of our language are so great that both tone-production 
and diction require the greatest care. A singing teacher should really 
possess a sort of sixth sense — the faculty of analyzing all kinds of vocal 
tone, of knowing intuitively the cause of faulty production, and at the same 
time be able to explain it convincingly to the student. It is, perhaps, on 
account of this singular faculty that so many otherwise very ordinary musi- 
cians have been great successes as singing teachers, especially in the matter 
of voice-production, and it may also account for the fact that some very 
eminent musicians have never been able to get results, except in a purely 
musical way. Because the singing teacher has been in his time a very 
great artist is no reason why he should be necessarily a great teacher. It 
is more than likely that his ideas of imparting information will be confined 
to requiring the student to imitate him. To be sure, great results can be 
accomplished in this way, but it is scarcely an intelligent mental process. 


Believing, as I do, that the profession of teacher is one of the highest 
and noblest callings, you will excuse me if I quote from the address made 
to our graduating class at the last commencement : — 

''What is it to be a teacher? Is it to sit by and correct mistakes, to 
point out errors, to praise or to blame, and to assign a task for next lesson? 
These matters are all necessary, but this is not teaching. It is barely 
instruction even, and a teacher who goes no further than this is not fit to 
be trusted with the training of growing young talent. No ! The real 
teacher is an illuminator^ and he sheds such light on his subject that to his 
students it becomes glorified and transfigured, and worth the greatest effort 
it is possible for them to make. He fills his students with an enthusiasm 
and a holy zeal which calls out the best effort of their minds and the 
highest flights of their imagination. 

1909 ^^^T^t Mtnmt^^^ 127 

''Such teachers are born — not made — they may be self-made. 
And great are the rewards of such teaching ! Not in a material way — for 
the salary of the best teachers is seldom in proportion to their ability — but 
to grow old with the reverent love and gratitude of a generation of students 
who owe their success to your patient and devoted instruction, is to enjoy 
a reward which money cannot buy." 

The first requisite of an efficient teacher is patience, the next is more 
patience, and the last is still again patience. I think it is entirely possible 
for one to be a teacher, even a great teacher, without being a virtuoso ; but 
unless he has been a performer, it is not likely that he has mastered the 
more intimate secrets of the master works which he would require to be 
rendered by his pupils. Great artists are often ignorant of pedagogical 
principles, and, on that account, they often fail to find out the reasons for 
students' want of progress. But a student who is bound to learn will do 
so whether he has a good teacher, a bad teacher, or no teacher at all ; and 
if he is fortunate enough to have a teacher who can understand his own 
point of view, and who will respect his own individuality, he is likely to 
arrive in a shorter time than he would if he has to stumble along in the dark. 

Probably all of us have cause to be grateful to our former teachers, 
not only for their valuable instruction, but for their patience, their kindness 
and their interest ; and at the same time, and at the risk of seeming 
ungrateful, we may, perhaps, look back and see that some of them were 
simply trying to make us into a shoe to fit their particular " last," without 
any regard to the tendencies of our natural growth. The day has gone 
when the music student can be put through the mill without reference to 
his individual capacities, limitations or preferences. Because a student has 
played the first twelve studies by Cramer is no reason why he should play 
No. 13. The modern teacher, like a modern physician, is a specialist, and 
as no two patients are alike, so all students differ. The teacher w^ho does 
not study the action of a student's mind, as well as his physical limitations, 
is lacking in an important equipment. In fact it sometimes seems that the 
psychological element in teaching is the most important of all. Above all 
he must be able to convince the student of the eternal truth and beauty of 
good music. No part of his work requires more discretion, more patience, 
or more force of example. 


As before stated, the American student of music is a radically different 
type from his European brother or sister. As a rule the European student, 
especially the German, accepts without question the suggestions of his 

128 ^^^Z'fyt '&€nmt.^^ 1909 

teacher, whether he understands the reason or not. His teachers expect 
this of him, and have little patience with any other attitude. As long as 
the student is with them he is merely a student, and his likes and dislikes, 
and his personality, are not considered. He is led to believe that in time 
he will know what is necessary for him to know if he is sufficiently 
obedient, and perhaps in the end this may be true. In this way the stu- 
dent considers his teacher responsible for his progress, and never thinks of 
asking the question so often heard in our schools, " How long is this going 
to last? " or Do you think I am making progress? " etc. 

With the American student the case is radically different. The earnest 
student, as a rule, is ambitious, a hard worker, full of confidence, and some- 
times of conceit, and he claims the right to know the reason of things. He 
is inclined to be impatient of restraint, and sometimes to do his work in a 
superficial way. He has little reverence for tradition, and is very prone 
to begin his edifice at the attic rather than the cellar. He has the pro- 
verbial ''sweet tooth" common to young animals, and is apt to prefer 
Chaminade and Debussy to Beethoven and Mozart. He does not always 
show his teacher the outward respect that is required of the European 
student, and he is often "fresh," even when he is not original. But for 
all that he may refer to his teacher behind his back as "the old man," or 
perhaps apply other endearing epithets to him, he is the soul of loyalty 
when once he is convinced that his teacher is really teaching him, and his 
gratitude and affection are permanent. This is the great and principal 
reason why, as before stated, a teacher should be one of great personality 
and authority. Besides he sometimes needs these qualities for self-defense. 

Music students of talent may be divided into two classes — those with 
executive and technical gifts, and those of poetic sensibilities. When 
these two elements are combined there is a good chance of producing an 
artist. Many people mistake a passion for music, especially for the sen- 
suous expression of music, for real capacity. On the other hand, there 
are some of great natural technical gifts, who are insensible to poetical 
expression. I am grieved to say that there is also a third class, who study 
music because they have an idea that it is an easy and profitable industry, 
much to be preferred to honest manual labor, for which they are really 
much better adapted. One of the great problems of musical education, 
as far as the student is concerned, is the suppression of the unfit, and it 
should be part of the business of this Association to aid and abet this laud- 
able object. The art of music in this country will never receive its due 
respect until its votaries are those who have been born with a hearing ear 
and an understanding heart. 

1909 ♦♦♦ffljr 5Krtimr<.^* 129 

Far be it from me to disparage the conscientious efforts of the humble 
student and teacher, who. often asrainst oreat obstacles and with little 
encouragement, struggles bravely on. perhaps in some remote locality 
where great music is never heard, content if now and then he may awaken 
in some vounof mind the same love and enthusiasm which fills his own 
soul. He is doing a great work. — a work which perhaps no one else could 
or would do : and if this ever becomes a great musical nation it will be 
largely due to his patient and unseltish devotion. But for him some of us 
would not be here, and we honor him with all our hearts. If America 
ever produces a really great and original composer he is quite likely to 
come from these ranks. 


We have made no reference to anv special department for the training 
of teachers. As far as I am aware there are no such departments in the 
European conservatories, the theory being that the student will teach as he 
has been himself taught, and if this has been efHcientlv done he needs no 
further special training. But I recognize the usefulness and necessity of 
such schools of normal methods, even in the training of young artists, but 
they should ne\er be allowed to degenerate into asylums for those who 
cannot learn to sing, plav, conduct or compose. 

The ideal music school in this country cannot arrive until conditions 
are made favorable to its growth and development. There are signs that 
these conditions are approaching, and at a rapid rate. An ideal school 
which is organized and conducted for art's sake alone can never support 
itself. It needs an expensive equipment. It needs artists and professors 
whose time and efforts command large compensation. It needs permanent 
support from an enthusiastic art-loving public, and it needs an endowment 
fund large enough to provide for the entire education and maintenance of 
highly gifted voung people. For it seems to be almost invariably the case 
that the musically gifted student is without means to pay for his education. 
This is recognized in European schools to such an extent that in many of 
them no students are required to pay any tuition whatever, expenses being 
paid by the government. 

In European schools the student is not allowed to take part in any 
public performances, or engage in other occupation in which he may assist 
himself financially, except bv special permission. He is supposed to 
devote himself exclusively to his studies, and it is quite necessary that he 
should do so. While there is no objection to an American student adding 
to his resources by singing: in a choir, or sivins: lessons, or plavinor church 

130 ^^^Z^t '^tnmt^^^ 1909 

organ, there are some occupations, like orchestral playing for dancing and 
in the theatre, which have a tendency to interfere with the efficiency of his 
serious training, and he should engage in no occupation whatever which 
takes time from his necessary study or practice. 

An ideal school of music need not be large, not larger in fact than is 
necessary to accommodate students of real talent. 

There is another music school to which I have not referred, which is 
very necessary to the musical growth of this country. It is no less impor- 
tant than the strictly professional or technical school, and it should be a 
department of every private and public school, and a required study in 
university training. It is the school for listeners^ and to it in the future 
we must look for the support of the music school I have so inadequately 
endeavored to describe. 

I am aware that there is nothing particularly new or original in this 
outline of a curriculum for a music school. There are many schools 
which closely follow its lines, but if there are any that are not hampered 
by some of the conditions above described I can only congratulate them 
with all my heart. 

Read at the Thirtieth Annual Meeting of the Music Teachers' National Associ- 
ation, held in Washington, D. C, December 28-31, 1908. 

1909 ^^^T'^t Wl^tumt^^^ 

The Wandering Minstrel: A Reverie 

. . . She chanted snatches of old iunes.— Hamlet, Act iv., Sc. 7 

HERE are words and expressions which, say as we may, have 
about them a certain wizardry. Somehow or other — and the law 
of mental association does not explain all — they throw a glamor 
over us, and we are at their mercy. As the scent of a bouquet thrown 
off from some passer-by will take us in a moment far from the crowded 
street and the grey of middle life back to childhood and the garden of the 
long ago, there are expressions which, despite ourselves, have the power 
of throwing us into moods and states of mind out of which emerge dreams 
and phantasms, more real than we at first may be inclined to admit. 

To-night I have been under the spell of an expression of the uncanny 
sort. As the evening was closing in I read in the quaint setting of a play- 
bill of a century and a half ago the title of a long forgotten melodrama, 
" The Wanderins: Minstrel." Since I read these three words in broken 
black-letter type, now going brown on the soft, yellowed tobacco paper, 
vision after vision has been passing before me. 

I have seen Orpheus, and all nature dancing to his music : the moun- 
tains stepping it in a stately minuet, the oaks kicking up their roots and 
waltzing with birches, the royal lion forgetting his dignity in the rapture 
of a double shuffle, and the lower animals wild in the restless whirl of a 
reel, i have beheld old Homer, deep-browed and million-wrinkled, roll- 
ing out to the melody of his lyre that deathless music which whilom he 
sang to the brool of the restless ^gean. 1 have had a vision of the tents 
of a Danish camp, in the midst of which, under a spreading tree, sat King 
Alfred, the "Darling of the English," and well named "The Great," 
harping, like a bearded David, to Guthrum at his tent door, a very Saul of 
an evil spirit. I have been present at the board of our Anglo-Saxon fore- 
fathers when the snow was at the door and the wind in the chimney, and 
have heard, as the wassail-bowl went round the hall, the far- wandered 
gleeman with streaming hair, his back to the logs piled high on the blaz- 
ing hearth, with wild gestures, and a wilder eye, pour forth to the twanging 
of a harp his torrent of melody till the old hall re-echoed with shouts, and 
the war-cry rebounded from the smoky roof. I have listened to the same 
gleeman, when the snows were away and the wind was low, singing of 
love and chivalry, under the summer oak, to the blue-eyed maidens and 
yellow-haired lads of old England. 

132 ^^^Z^t l^tnmt^^^ 1909 

Visions, too, I have had of poor Louise, the glee-maiden, with snood 
in hand and viol by her side, wandering from cottage door to castle gate, 
with the lay of the woodland walk ever on her lips : and of that aged 
Minstrel, called the Last by him who was a later and a greater, singing in 
Newark's tower, garlanded with its woods, of Teviot's Flower and Brank- 
some Hall : — 

" While Yarrow, as he roll'd along, 
Bore burden to the minstrel's song." 

And now I see Oliver of "The Deserted Village," the happy-go-lucky, 
the all-lovable, fluting in the market-place of a French village, as the sun 
goes down, to dark-eyed children in well-worn sabots, and old men in 
much-mended blouses. Surely, since Time was young, and the god Pan 
piped, far in the forest, to gleaming nymph and reeling satyr, the world 
has never seen so strange a wandering minstrel. 

A wandering minstrel ! As I write the enchanted words, memory, 
flashing her inextinguishable lamp upon the past, reveals far back the 
figure of a wandering minstrel, none other than that of Fiddler Henry, to 
me, at least, the indispensable of our village Fair. In a dusky cloak and 
a bell-crowned hat, white as the locks that stream down his back like a 
mountain-torrent, with heavy beard and glowing eye, mouthing out to the 
melody of his fiddle his tales of love and war, he is a poet and a minstrel 
every fibre of him. 

Ah, Fiddler Henry ! by thy side I have stood a sanguine and trustful 
child, regardless alike of merry-go-rounds and gingerbread stalls, from the 
time that the sun came over the eastern hill until in my eyes thou wast 
apotheosized amid the glare of naphtha lamps and the circle of lads and 
lassies whirling dizzily to thy wild minstrelsy, when the unwelcome tidings 
came that it was long past bedtime, and, with visions of the day when I 
should have a fiddle and a bell-crowned hat, I walked down the single 
street of the quaint old village, not altogether heedless of the evening star 
that hung high above the pines, and the orange light that was dying away 
in the west. 

Sad was that Fair day which came, and with it no Fiddler Henry. 
Hither and thither in the market place I rushed, but nowhere was he to be 
seen. In despair I ventured to ask about him of an old candy- wife to 
whom on bygone Fair days I had seen him speaking. It was long ere I 
made the withered beldame understand, for she must needs think that a 
bairn can want nothing but barley sugar or treacle candies. At last she 
exclaimed, " Harry the Fiddler, my bairn! ken ye na' hoo the puir body 
was smoor'd i' the snaw last New Year's nicht abune Yarrow?" I under- 

( p^ 1909 ...g^r «rttmc. 133 

stood enough : Fiddler Henrv had g^one awav. and was never cominsr back 
to the Fair, and disconsolate I hurried from the market-place. 

Surelv I was right when I said that some expressions throw a glamor 
as ot w izardry over us, and that The Wandering Minstrel " is one of 
these. It has charmed me like a spell : it has said, Open sesame ! " to 
mv heart's treasure-cave. And now, as I bid adieu to the wanderinor min- 
strels who have been with me to-ni^ht, I am somewhat sad. As Fiddler 
Henr\- leaves me, it is. indeed, as if a bit of mvself were soino: out into the 
windv night : and, laving down mv pen. and watcliing the flickering fire, 
while snatches of his old songs flit as bats about dark brain-corners, I can- 
not but feel something strangely impressive in the fact that the song is 
with us when the sinorer is awav, that the melodv lives when the hand that 
ooiided the bow is still beneath a snow-wTeath. Somethinof stransfelv 
impressive indeed ! yet herein catch ^ve not a glimpse of the meaning of 
the whole thing? 

A great while ago the world began, 
With hey, ho. the wind and the rain." 

and ever since, in windv weather and on rainv davs all alike, there have 
been minstrels and minstrelsv. Long before troubadour sang or Orpheus 
piped, the cataract blew its trumpet from the steep, and the wind its thou- 
sand bugles up the fells, the nightingale shook out her music to the moon, 
and the summer stream sans all nig^ht throucrh to the listenine: oak. Av, 
and before the ••orreat while ag^o," ere the sousfh of the wind and the 
plash of the rain had begun, there were mysterious minstrelsies, sphere 
music and morninsf stars sinsdnor tog^ether. ^linstrelsv is of the eternities 
and cannot die: the minstrel only opens his soul, already tuned, to the 
breezes of the Infinite, and it is thev that make the melodv. 

1 awake to find mv earlv dream of fiddle and bell-crowned hat more 
than realized : for. bv the constitution of our being, we are all of us wan- 
dering minstrels, fluting our roundelays and threnodies in the naphtha- 
glare and amid the merr\--go-rounds of this poor world-fair, with weird 
passages of wailing as well as allegretto movements in our scores. Before 
and behind are the eternities, and all around are tones of sphere-music and 
minstrelsv of loftier worlds with influence on those who will but listen, 
the highest and holiest. Happv the earth-minstrel who at times shuts out 
the dazzle of the naphtha-glare and the clatter of the merrv-go-rounds, and 
listens with bowed head to the sphere-music begotten of the eternities, 
struggling, if he cannot reproduce it, at least to be in tune with it. For 
him to have done so will be the better for the world, and, mavhap, not the 
worse for liimself , when out above some Varrow his limbs are bentunbed 
in the wilderinor snows of the death-drift. 

Chopin and Mendelssohn 


HIS is the season of musical centennials. Mendelssohn, Chopin, 
Schumann, Liszt, Verdi and Wagner will follow each other, in 
the celebrations of their hundredth birthday, with some contin- 

uity. In the case of Chopin there is still a little doubt as to whether the 
century from his birth will be rounded out in 1910 or was finished in 1909. 
Sometimes the composers themselves were not reliable authorities as to the 
date of their birth, as for example, Beethoven, who, in defiance of every 
authority which proved him born in 1770, maintained that he was born in 

It is undoubted, however, that the first two festivals of this centen- 
nial suite must be devoted to ^Mendelssohn and Chopin. There was some- 
thing of similarity in their social prestige, for both moved in the most 
aristocratic society. But this is about the only point of resemblance that 
can be noted between them. Mendelssohn was a Chesterfield, not only in 
music, but in his self-control and suavity. Chopin was a child of passion, 
of intensity and impetuosity. 

Alusic is very often the child of sorrow, and this grief may be either 
personal or national. In the case of Chopin it was chieflv the latter. 
Poland had been dismembered by Prussia, Russia and Austria, rebellion 
had been put down by exile and the knout, and Chopin often sang of hero- 
ism that was futile, and of departed glories. Some of his strongest music 
was national. 

Yet the word ''sang" is here but metaphorical, for Chopin was 
entirely devoted to his one instrument — the piano. Every other one of the 
great musical masters won his triumphs in varied fields of artistic creation. 
The opera, symphony, fugue, oratorio, song, suite, etc., were the vehicles 
of expression of almost all of the tone masters. When Chopin left piano 
composition, which was but rarely, he was no longer a master. His one 
effort in large chamber music, his Trio for violin, violoncello and piano, 
was but a mediocre achievement. His works for violoncello and piano 
were no better. His songs, published after his death, are but piano com- 
positions with words attached. 

We are accustomed to-day to accept the fact that a composer should 
idealize the music of his native land, as a self-evident fact, but it ought to 
be remembered that Chopin was a pioneer in this direction. Bach and 



135 cr^ 

Handel, Haydn and Mozart, were not given to using national themes, 
although Havdn wrote a national hymn for Austria. When Beethoven 
used a folk-song he generally denationalized it. It was Chopin, first and 
foremost, who brought folk-music thoroughly to the front in the advanced 
forms of musical composition. Since his time Hungary has had its Liszt 
(who was almost contemporaneous in this field), Norway its Grieg, 
Bohemia its Smetana and Dvorak, Russia its Glinka ; but Chopin was the 
first to make his native land famous through its own music. 

He understood his chosen instrument as no one before him had done. 
His teaching was a remarkable proof of this. Although he hated the con- 
cert room, — he said that its atmosphere stifled him, — in smaller circles his 
performance was said to be the most poetic of his time. He did not 
endeavor to equalize the fingers of his jDupils, but maintained that each 
finger could have an individuality of its own. His piano embroidery was 
new enouo:h to shock jSIoscheles and ^Mendelssohn. ^Mendelssohn w^as a 
direct contrast to this innovator. He traveled alono" the reg^ular hio-hwav of 
Music. Thoroughly grounded in the forms and counterpoint of Bach, 
inoculated with the conservatism of Zelter, he was not fitted either by 
nature or by training to become a pioneer. He was a reflection of the 
best of the older school, a great talent rather than a genius. 

A painter who li\'ed inland all his days could not hope to paint the 
ocean : a composer whose life was free from almost every kind of trouble 
could scarcely hope to sound the depths of emotion in music. But Men- 
delssohn had the saving grace of humor, and this caused him to evolve 
an occasional masterpiece. His Overture to " IMidsummer-night's Dream" 
was written when only seventeen years of age, and there is not another 
equally original composition in the large forms to be credited to any com- 
poser whatever at so early an age. His Scherzos are models of what 
humor in music should be. 

Sometimes a great talent serves art as usefully as a genius, if he has 
the good fortune to be born at the right time. Philipp Emanuel Bach was 
not a genius, as his father had been, but he became a conservator of much 
that was ^•ery essential to art, and led the older school of clavichord playing 
into a new^ direction. Mendelssohn must likewise be regarded as a conser- 
vator. He was the practical founder of the modern appreciation of Bach 
throuo^h his resuscitation of the '^Passion Music." 

Schubert may have established the ''song form" in music, but it was 
Mendelssohn who showed what infinite variety it was capable of. His 
" Son^s without Words" have been sneered at bv the ultra-moderns, but 

even if some of them are over-sweet, and most of them are in a single and 
easily comprehended form, they still differ from each other as human faces 
(also built upon one plan) differ from each other. Von Billow (who cer- 
tainly may be regarded as an ad\ anced modern) was alwa} ^ very angry if 
any of his pupils dared to speak in a condescending manner of these songs. 

Different from Chopin, Mendelssohn wrote in every musical form. 
Opera and song were probably his weakest styles, but in every other field 
he made his mark. Wagner, in spite of his vehement attacks upon ^len- 
delssohn and his entire race, admitted that ''The Hebrides" overture was 
a masterpiece. 

^Mendelssohn's wealth may not have been an unmixed blessing to his 
artistic reputation. He was relieved from all necessity of struggling to 
maintain his foothold in art. In his youth his father hired an orchestra to 
play his compositions for him ; in his later years he was able to dictate his 
terms rather than to press on in composition under the stimulating lash of 
poverty. Goethe has well said — 

" Who ne'er in tears hath broken bread, 

Who never through the night's dark hours 
Sat hopeless, weeping, on his bed. 

He knows ye not, ye heavenly Powers I " 

There is room in the affection of the true musician for both Chopin 
and Mendelssohn. The cultured reader does not pass Tennyson by because 
he loves Keats. We need something of this catholic breadth in music, and 
to learn the lesson that one style of composition does not need to abolish 
another, and that a great school of work need not crush out even a little 
one. Believing thus, we shall heartily celebrate the centennials of both 
Chopin and ]\Jendelssohn. 

^ 1909 ...g|ir 3Hrttmr... 137 CT^ 

Boston and Grand Opera 

By HELNR^l' RUSSELL, Director of the Boston Opera Company 

IT is doubtful whether in the musical history of the world there is 
to be found a more remarkable instance of vmit\- of purpose than 
that which has been manifested by the Boston public in its wilHng- 
ness to suppKjrt the splendid Opera House now in course of construction in 

The subscribers for stock, boxes and seats came forvvard in such num- 
bers as to render necessary an increase of seating accommodation proyided 
for in the original plans of the Opera House. 

Boston can already claim to haye set an admirable example, not only 
to New York, but to every city in the L nited States. 

Hitherto all subscriptions for opera seasons haye been based on the 
names of the artists preWously announced, and the amount subscribed has 
usually yaried in accordance with the degTee of celebrity of the artists 
adyertised to appear. This unfortunate fact has. in itself, delayed the 
operatic deyelopment of America and encouraged the tendency of the 
public to attend the opera, not for its own sake, but merely to see and hear 
some jjarticular indiyidual whose name (not always desenedly) has been 
brought into prominence. 

Boston, on the other hand, was assured that it was going to haye 
fifteen weeks of good opera. The names of the President and the Board of 
Directors were in themseh es accepted as a guarantee that nothing but the 
highest standard of excellence would be tolerated in the Opera House of a 
city long reno\yned for its cidture, refinement and musical accomplishments. 

Subscriptions poured in, and haye continued to j>our in, before the 
engagement of a single artist has been announced, and the loyer of opera 
may rejoice at an eyent which has caused comment and admiration from 
the operatic centers of the world. A fine beginning, indeed, and one 
worthy of the great enterprise which has sprung from the soul of an excep- 
tional man and generous citizen. 

Eyer\- stockholder who signed the parchment which was buried in the 
cornerstone may be also said to haye signed the death warrant of the star 
system in America. That noteworthy hst of signatures was, in realit\'. a 
tacit endorsement of the future policy of the Boston Opera Company — a 
silent declaration of the most intellectual and select of Boston citizens in 
fayor of establishing opera on a more permanent, more economical, and 
more artistic basis than has hitheno existed in the L'nited States of America. 

( p) 1909 ...Z'^€ mtmm... 139 Cr^ 

In view of this statement it may be as well to define clearly what is 
meant by the elimination of the " star system," and to analyze the import 
of the term. " Star system" is an epithet which evidently had a heavenly 
origin, however infernal its influence has proved in the operatic world. 
Stars, as we all know, obey immutable laws and do not concern them- 
selves with the doings of each other. Singers, I fear, can scarcely claim to 
resemble the celestial bodies in this respect. 

But to go to the root of the matter. The opera should be the reunion 
of all that is best in music, drama, singing, lighting and staging. To get 
even within measurable distance of this desideratum, it is quite obvious 
that the united efforts of many individuals are required. To insure any- 
thing like a successful result, it will be necessary that these individuals 
should be first-class in their separate lines and, consequently, well paid. 
Above all, they should be animated by the desire to bring about an artistic 
whole rather than individual conspicuousness, realizing that in the former 
lies their only real chance for enduring success. 

These are Utopian conditions to hope for in any opera house, I 
confess, and yet there is no reason why, with patience, discipline and educa- 
tion, they should not come to pass, always providing that the " star system " 
is eliminated. 

By this I do not mean to suggest that an opera house should not 
have first-class singers. On the contrary, fine singing must ever be one of 
the most potent factors in the production of good opera, but let it here be 
affirmed that fine singing is not confined to " stars," and, indeed, both 
London and New York boast many " stars" to-day who are very far from 
being first-class singrers. 

I have no hesitation in stating that these two great cities, so strangely 
dissimilar in every other respect, resemble each other in their predilection 
for great names. Hence it is that enterprising impresarios, who have neither 
means nor the inclination to reform popular taste, prefer to pander to it, 
and raise their subscriptions and attract their public by what 1 call con- 
certizing opera. 

It should not be inferred from these remarks that it is desired to 
eliminate the great singer from opera, or prevent the public from electing 
its favorites. The futility of such a scheme is obvious, in so far as it 
would be in direct contradiction to the law of the sur^'ival of the fittest. 

The exceptional combination of gifts required to make a great singer 
will always insure fame and fortune to their lucky possessor. The public, 
however, should not be cajoled into accepting as great singers those artists 

1 909 Z^t Wi^tnmt^^^ 1 4 1 

who, possessing certain limited qualifications, have become celebrated, not 
by virtue of exceptional voice or talent, but through the medium of indis- 
criminate newspaper notoriety. Any opera house which is supported by 
a public that only cares about certain individual singers, is doomed to 
both artistic and financial failure. Firstly, because the presence of one 
conspicuous singer is sure to make the cast uneven, and what is far more 
to the point, the enormous fee demanded by a "star singer" can only be 
paid by economising and cutting down the rest of the expenses to such a 
degree as to necessitate a disgraceful performance. Secondly, because, 
even if the " star" draws to the extent of the fee paid, there is always the 
possibility of illness and other sources of disapjoointment, necessitating a 
return of the money to a public which has paid to hear an individual, and 
not an opera. 

At the root of the "star system" there are three very inferior traits 
of human nature : snobbism, superficiality and a preference for foreign 

Snobbism in art is like snobbism in society. All that glitters is not 
necessarily gold. A man with a title should have some claim to distinc- 
tion other than the title; a singer with a name should possess vocal qual- 
ities to justify celebrity. Because in the middle ages a man's forefathers 
distinguished themselves in the battlefield there is no reason why he him- 
self should not be a fool. Because a singer thirty years ago was richly 
endowed with talents, there is no reason why the public should continue to 
applaud the living tomb in which they are buried. Loyalty, respect and 
affection are all poor substitutes for artistic judgment. A fact which 
recalls the words of the famous critic who said that morality had nothing 
to do with art, whilst the domestic virtues -were an excellent advertisement 
for second rate artists. 

Superficiality, too, is a quality of human nature by no means confined 
to things operatic, but when it is permitted free sway in this realm it 
results in the public accepting appearances for realities, and creates con- 
ditions by which an opera house can easily be converted into a circus 
ring, where the prize fighter or the clown are equally liable to gain 

Last, but not least, a preference for foreign importation is a declara- 
tion of weakness upon the part of any country, much less America, whose 
great force lies in its own unlimited, unexplored and inexhaustible resources. 
On this subject I cannot do better than quote the words of Schopenhauer : 
"For imports are expensive things, reveal dependence, entail danger. 

142 ^..T^tmtnmt... 1909 Cr| 

occasion trouble and, when all is said and done, are a poor substitute for 
home produce. No man ought to expect much from others, or, in general, 
from the external world." 

It is not for a moment assumed that the great philosopher had singers 
in his mind when writing these words, and yet had he been familiar with 
American operatic conditions, he could not have found better terms in 
which to express them. 


In the years to come the great international and cosmopolitan blood 
of America should supply us with all the operatic talent we need. Let 
other cities and citizens follow the example of Mr. Eben D. Jordan; let 
theatres, and above all, institutions^ be organized where the undeveloped 
talent of the entire world can enter, study and debut without reference to 
European approval, and without assuming names that hide an origin of 
which all should be proud. 





Far down the silent vistas of the west, 

Reaching remote and limitless and free, 
The golden sun goes splendidly to rest, 

Bej'ond the wide expanses of the sea. 
His waning flames of trembling crimson flee 

Across the surging waters as in quest 
Of sea-blown shore, of fragrant land and lea, 

Where lovely Summer is the glad earth's guest. 

Along the winding beach by waves opprest, 

To where the headland rises from the lea, 
And towers in the air with storm-beat breast. 

The wind from out the south blow^s quietly. 
Singing his song to grass and flower and tree. 

That waver on the hill-side's sandy crest, 
And then goes seaward, but returns to be 

When lovely Summer is the glad earth's guest. 

The happy bird has gone to seek his nest. 

The cricket chirps his eve-tune drowsily; 
The nodding flowers are now no more made blest 

By voice of wind, or by the murmuring bee. 
The dewy air is still, all things agree; 

While from the east the night in purple dressed 
Unfurls, above, her jewelled canopy. 

Where lovely Summer is the glad earth's guest. 

Friend, even so it is with you and me, 

Our lives which care and trouble so infest, 

End like these days, that now we hold in fee 
Where lovely Summer is the glad earth's guest. 





Everyone is familiar with the old and true axlage, " Procrastination 
is the thief of time," and to bear this thought in mind is the first require- 
ment for a successful course in this as well as any other school. It is very 
easy to leave work of any kind until the last minute, but when that minute 
arrives the time is too short in which to do the work at all. A continuous 
habit of procrastination will greatly retard, if not entirely check, the prog- 
ress of the most talented and naturally musical student. 

Do not say to yourselves, "This is my first year here at the Conserv- 
atory, and I may as well have my good time now, and take in all the 
theatres, see all the sights, and next year I can do my theoretical work," 
for you will find that when next year comes there will be other things to 
be done entirely sufficient for that year, and you cannot do them well 
because last year's work must be caught up. If the. new student is earnest, 
and wishes to become a thoroughly good musician, let him not neglect 
present opportunities and duties, for it is impossible to build a secure 
foundation for a successful musical career if one habitually leaves things 
that should be done to-day until to-morrow. 

( f^ '909 ...Z^t l^tumt*,. 

The art of Voice Culture is a difficult one, as the vocal apparatus is 
largely a mystery, and authorities disagree. 

If your Jirst guess as to the remedy of any defect proves incorrect, try 
another remedy. Always try to remember what you have told your pupils 
at previous lessons, as they may possibly remember, and may compare the 
things you say at different times. At all times make yourself think you 
know something about the subject, as this strengthens the pupil's confidence 
in you. 

If you have not made too bad a mistake in the choosing of your calling 
you will, by persevering, meet with some success, and there is nothing like 
success to bring more success. 

Ox entering college or any of the higher institutions of learning, such 
as our own Conservatory, one feels as if he were going into a strange land, 
and wonder if in all this vast throng of people he will find one friend. 
Little do they realize that here there are not only teachers but friends, and 
real true ones, and how often do they find that their teachers are their 
best friends. There is much to be gained in our school of music, from 
the fact that our pupils learn to know their instructors, and often the latter's 
character and influence is of as much benefit to the student as the work he 
is studying. Some of the teachers, perhaps, do not realize what they 
personally mean to a student, and how by their example of patience, kind- 
ness and courtesy, they encourage and help strengthen them for whatever 
line of work they may undertake. 

Of course a person may know something of a man through his books 
and works, but then it is the actual association that counts, — and that we 
get here, — which cannot be gotten in schools where classes are of great 
size. Do not our students feel proud to go into the world having known 
such musical men as Mr. Chadwick, Mr. Wallace Goodrich, and others of 
the Faculty, and to take with them the remembrance of the teachers, who 
have been as real and true in character as they were in their art. 

Then, too, come the friendships which have been formed by students 
among themselves, and many of these, " made of the tough fibre of the 
human heart the solidest thing we know," stand the test of years. 

Let us ask our teachers to be not only instructors but friends as well, 
that we mav leave school the better for having known them. 

If a music student wishes to be successful, and not lessen his mental 
and physical powers, he must shun worrying about the future, and de\'ote 
his whole attention to the opportunities and advantages of the present. It 

146 ^^^T'^t '^tnmt^^^ 1909 

does not, from any point of view, pay to worry. It has never helped, and 
it has very often discouraged and disheartened students to such an extent 
that they have given up in despair the foundations of their life work. 

Our lives and work are in the hands of a higher power than we possess, 
and the wise student will not try to cross bridges of apprehension, thereby 
causing worry and fatigue, but will meet each task and do it with all his 
heart, realizing that worrying as to the result was not only foolish but 

Of the many advantages Boston offers to the student of music the 
Boston Symphony Orchestra stands among the first. What greater oppor- 
tunity could present itself for musical education and furtherance than 
proximity to an orchestra wherein every unit complies to make the whole 

To an earnest student the orchestra- is an intermediary to the best com- 
posers, and an ideal interpreter of the language through which they choose 
to speak to us, and by means of which we come to know them. To the 
indifferent student it is an acquaintance whom their lack of perception may, 
or may never, regret having missed. To the world in general it is an 
artistic inspiration, a revered musical friend and a light to greater things. 

One of the deplorable differences between student music life in 
America and in Germany is the lack in the former country of the appre- 
ciation of the value of the scientific side of music. 

In America in a music school of many hundred students a half dozen 
may be found who consider the study of harmony and counterpoint really 
essential to thorough musicianship. 

The Germans are wiser ; in their schools many hundreds are found 
writing canons and fugues. Too much stress cannot be placed upon this 
very important adjunct to true musicianship. The Classicists were masters 
of counterpoint, and the Moderns are keenly alive to its importance. 

Why the average American student is satisfied to make his fingers go 
rapidly, or produce a good tone vocally or instrumentally, to his almost 
entire neglect of the constructive side of music, is beyond the thinking 
musician's power to comprehend. It is not by enunciating correctly the 
sounds of the words that make up a sentence that we have understanding 
of the ifnport of that sentence, but by knozving the meanings of the words 

(f^ '909 Wttumt... 


And so it is not the playing and singing of notes with accuracy that 
go to make up intelHgence, but rather the knowledge of the mariner in 
w^iich the composer invented his material and then developed it. 

The crying need of the American music student is study along these 
lines. A broader knowledge of harmony, homophonic and polyphonic 
forms, counterpoint and instrumentation, will produce musicians with more 
''beefsteak" in their make-up. 

The young man who desires to become an all-round, well-educated 
musician cannot afford to pass by the very many and exceptional advantages 
which the New England Conservatory of Music has to offer its students. 

Having been a scholar at the institution for the last five years, my 
observations regarding the opportunities for study which confront the earn- 
est worker on every side, should have some weight and be of some helpful- 
ness to the new incoming student at the outset. 

Above all things, whatever else you may do, do not be in a hurry to 
get through and possess the much coveted New England Conservatory 
diploma. Take things comfortably, then you will do your work well. 
The New England Conservatory of Music has so many attractive courses 
which one has to take in order to graduate, that the newcomer will be 
somewhat bew ildered as to his choice of studies ; but let me counsel him 
to consult with the Dean at once, Mr. Wallace Goodrich, whose invariable 
courtesy and good judgment will direct him along the right lines for serious 
and profitable study. The courses in the theoretical studies will be found 
to be very fine, helpful, broadening and stimulating. These will come 
under such masters as Mr. Chadwick, Mr. Elson, ^Ir. Cutter and others. 

And I am of the strong opinion that after the student has finished his 
required theory and harmony courses, if he can possibly spend a year, at 
least, with Mr. Chadwick, studying the beginnings of musical composition, 
whether he has the talent for composition or not, he will never regret the 
time so spent. For to be in close contact, if for only an hour a week with 
a man whose learning, musical genius and musical experience generally, 
is second to none in this country, is in itself a great privilege and education. 

Come and study at the Conservatory. 

Two Rondels 

Of that one day now long since past and dead, 
Dead as some flower with all its petals shed, 

After the wind hath blown them far away, 
What shall be spoken, and what left unsaid. 

Of all the memories which with me stay. 

Of that one day. 

Its wayward hopes and joys are gone and fled, 
As the white stars, with. light and hurrying tread. 

Swift disappear from out the night's wide way, 
Before the dawn — and with deep sorrow bred 

Love singeth now a low and mournful lay 

Of that one day. 

Yea, it were hard since Fate had led 

Us each to each, that like a weaver's thread 

The tie should broken be — but who can say 
If clouds shall reign or sky be glad o'erhead — 

We little dreamed, dear friend, or feared dismay, 

Of that one day. 


Of these last years since you and I have met. 
And I have known you as the violet 

Is known by the warm sun in summertime, 

If I have made your days sing out of chime, 
Forgive — and I will kiss away the tears 
Of these last years. 

If, love, you will not pardon, let me reign 
No more within your heart, but let me wane 

And vanish, as the night o'ercome by day — 

Yea, let me be forgotten, if you say, 
And I alone will bear the hopes and fears 
Of these last years. 


Who put the bomb in the new Opera House? 

They say Carl Pierce did it. He thought it was the Stock Exchange. 

Richey, our dear, old sopran 
(They say she hits the can "). 

She can pipe high C, 

And even an E, 
But she can't land just a " man." 

Joe Williams and the Shoes 

We sat quite close together 
In Jordan Hall, one day, 

And this is what did happen, 
This awful sad affray : — 

Joe Williams had a pair of shoes, 

Those shoes, they looked so fine, 
For Williams to the cobbler went 

To get a brilliant shine. 
The cobbler evidently used 

Some stuff that smelled. oh. my! 
And when in Jordan Hall we went, 

The people thought they'd die. 
Into each other's face they looked, 

And asked. " What can that be ? " 
Thev gazed about the hall again, 

But nothing could they see. 
Two damsels now before us sat. 

With hats so large and fair. 
We couldn't see or hear a thing. — 

The odor filled the air. 
Upon one maiden's face there grew 

A frown, so long and sad — 

She had the finest seats, but oh, — 

The air was rather bad. 
At last she led her chum across 

The hall to seats so poor ; 
She'd rather sit in poorer seats 

Than all that smell endure. 
And when she rose to walk away, 

She gave us such a look 
I hardly dared to raise my eyes, — 

I glued them to a book. 
Whenever now this lad we meet, 

We always think of Fate, 
For if we wore those awful shoes 

We'd sure asph\-xiate. 
Joe Williams thinks its rather nice 

To have some shoes that smell. 
To drive away those awful hats. 

This tale remember well. 

Is there a Shirt-left in the class 

After Mildred makes her adieu? 
She " rough-houses " " the whole darn Con." 

For " life" she's more than " a few." 

150 ^.^Z^t Wl^tnmt^^^ 1909 

Dean, gay and debonair, 
A rarebit simply cannot bear, 
And so it often is his habit 
To say, when asked to take a rarebit, 
" I really would prefer a Hare.^' 

Barney lives in Gainsboro Street, 
Markey in blue Frost Hall. 

She always looks her very best 
When Barney comes to call. 

We fear that Constance is in love, 
In fact we know it's so. 

The loving glances that she casts 
At " Eat-'em-AIive " Boscoe. 

Fay and Percy, so the story goes, 
Love each other from head to toes. 
Whether they'll marry nobody knows. 
But that's the way the story goes. 

Thomas Moss, our President, 
When his work is through. 

Turns his face toward Everett 
Where his love waits true. 

Such a sweet little morsel is Joe, 
And, oh, but he did love her so! 

He sent her some pinks 

And a few sly winks. 
But somehow it doesn't quite go. 

Our wild flower, modest and shy. 
Couldn't speak to a man if she'd try. 
She keeps out of sight, 
Never goes out at night (?) , 
Oh yes ! Daisy's thoughts are so high. 

Young in looks, but old in wisdom, 

Ah, my boy ! Beware ! 
Pouting lips and baby tricks 

Deceive you- Have a care ! 

Pretty, dainty bonnet strings 

Tied beneath a chin. 
Make a cute effect — but think ! 

You may get taken in. 

Others have been often caught 

Struggling in the net. 
Give it up before you're stranded 

By the gay coquette. 

Think you, when she smiles and dimples 

Full up in your face. 
Of " that old sweetheart of yours " ? 

Or has she lost her place ? 

Though the looks be e'er so fetching 
Heart and mind are fickle. 

Heed the warning — take advice ; 
And so avoid — a pickle. 



There was a doctor in our school, 
And he was wondrous wise. 

Some glasses on his nose he wore 
To aid his failing eyes. 

And when he felt his " sure-ons" < 
With all his might and main, 

Still playing, spared one finger tip 
To shove them on again. 


Keeping the Pitch 

Can we duet ? " asked the tenor, 
'* Can we sing the song before us — 
Can we do as they rechoir ? " 

And the answer was, "Of chorus ! 

The cute little girlie called Nickell 
Has grown exceedingly fickle ; 

Down Bridenbaugh's face 

The tears you can trace, 
And Kerr's are beginning to trickle. 

" Billy T." 
At Harmony 
Is certainly a wonder ; 
When he departs 
He'll break our hearts 
And tear them quite asunder. 

-J. T. 

Hazel Phillips, a cute little girl. 
Had Doc Blount in a terrible whirl. 
He rushed her madly to every old show. 
But Hazie said, nay, nay, its nary a go. 

Twisters for Torpid Tongues 



A growing gleam glowing green. 

The bleak breeze blighted the bright broom blossoms. 
Flesh of freshly dried flying fish. 

It is simply impossible for any one to repeat these three sentences fast. They are 
the gems of a collection of tongue twisters that an elocutionist has made. And almost 
equally difficult are the following, taken at random from the elocutionist's collection of 
more than two hundred tongue twisters : — 

Six thick thistle sticks. 

Two toads tried to trot to Tedbury. 

Give Grimes Jim's great gilt gig whip. 

Strict, strong Stephen Stringer snared slickly six sickly, silky snakes. 

She stood at the door of Mrs. Smith's fish sauce shop welcoming him in. — Scrapbook. 



Primer for '09 

A is for Austine, — 
A coiffure and hat. 

B is for Bowen, 

Quite liable to spat. 

C is for Coughlin — 
Dolores — so sad. 

D is for Doersam, 
Happy and glad. 

E is for Everyone 
On him smitten. 

F is for Freeman 

Who handed a mitten. 

G stands for Genius, 
Of '09 the patron. 

H is for Holmes, 

Our one lonely matron. 

I is for IT !— 
The Class of '09. 

J is for Jepperson, 
Stately and fine. 

K is for Kerr, 

So fond of the misses 
(And I'm tempted to add 
That he also likes kisses) . 

L is for Lyman — 
Married, you know. 

M is for Markey — 

And that's nothing slow, 

N is for Nine, 

O is for Ought 
Put them together 

And see what you've got. 

P is for Philips, 

Who dances so flip. 
Always stands ready 
To hop or to skip. 

O for the Queer things 
That happen sometimes 

When writers like this one 
Commence making rhymes, 

R is for Richey, 
Kippy and spry. 

S is for ShurtlefT, 
A glint in her eye. 

T is for Tyler — 

Man of finance — 
Tom comes in, too, 

When he's given a chance. 

U stands for US 

(We avoid all pretension) . 

V for Van Cleve, 

Quite worthy of mention. 

W for Walsh, 

And J. Williams, too — 
To forget our ex-treasurer 

Never would do ! 

X for Xcitement 

That's sure to abound 
When the grinds of this Neume 

Commence to get 'round. 

Y is for youthfulness — 
Nineteen Ten ! 

Z for the zeal 

That has guided this pen. 

(If you've found your name left out, 
All we ask is "Please don't pout; 
If you've found your name was there. 
All we ask is " Please don't swear." 

—A. K. M. 

Mary had a little " drag," 

She found it at the " Con." 
She never does a " lick of work," 

And still the " drag wags on." 

— Carloiv Mean. 

A jolly young junior named Brown 
Is now the catch of the town. 
He wears a big dimple, 
He looks sweet and simple, 
And never was known to frown. 





Doersam, the heartbreaker 

Of the N. E. C. 
With his coquettish glances 

So blithesome and free. 
Oh, he is impartial 

With those heartrending looks, 
He scatters them broadcast 

Like Peruna books. 

When he looks at a girl 

She is sure she's the one, 
But along comes another 

And spoils all her fun. 
So of those loving glances 

This I will say, 
Doersam looks at all girls 

In the verj' same way. 

— Anon. 

Masdy : Look out, Hiram, yer leadin' me right inter this mud. Why don't yer use yer eyes? 
Hiram : Gosh ! Ain't I } 

1909 ...Z^t mtumt... 155 Cr^ 

Billy Tyler, so they say, 

Collected " ads " the live-long day. 
He said he'd get one thousand dollars, — 

But we fear he took it out in hollers. 

i J J J ; J ^ fiL^ ii ' / " 

Music Hath Charms 

In my walk, one bright morning, 

I neared the N. E. C, 
That glorious institute 

Where tuition is free. 
I was conscious of a thrill 

And a trill in the air, 
Beginning and ending 

I know not where. 

Just a tiny suggestion, 

A whisper of sound, 
But the depth and the sweetness 

I knew must be found. 
It closed round my heart, 

And drew me along, 
Down Gainsboro Street, 

Which now burst into song. 

Now soft and low. 

As a lullaby, 
Now loud and fierce, 

Like a great war-cry. 
Now a funeral dirge 

From sorrow wrought. 
Now a barbaric chant. 

Wild and distraught. 

With every moment 

Its splendor grew, 
Till my enraptured soul 

From its bondage flew. 
And went soaring off 

Into infinite space ; 
Still the music drew 

Me on apace. 

My subconscious self. 

Now became aware 
Of a long, handsome building. 

Architecture so rare, — 
From the splendid facade 

And cornices came 
This soul thrilling music 

That set me aflame. 

'Oh, Music ! " I cried, 

" You most glorious Muse, 
Is this, then, your home ? 

If so, then I choose 
To bide here forever, 

And never depart. 
Since I have discovered 

Your home and your heart." 

March 27, 1909. 

I was brought down to earth 
By a touch on my arm. 

And there was an officer. 
To my great alarm. 

Are you ill ? " he cried. 

" If not, move on, 

For these are the ' dorms ' 
Of the New England Con. 

— Mildred fVeston. 

The Neume has its eyes on you, 
So be careful of what you do. 

Some crazy, little habit that you never knew you had 
Will serve to make the Neume Board mighty glad. 
No use to be dignified, for your faults they will all be spied. 
If you have none, don't boast, for you'll get a worse roast. 
The Neume has its eyes on you. — A. M . W . 

To the tune " The moon has its eyes on you." 

Toasts from Sinfonia 

Here's to girls, dear girls. 
I love them all 1 


" Here's to you, my dear, 
And to the dear that's not here, my dear ; 
But if the dear that's not here, my dear. 

Were here, my dear, 
I'd not be drinking to you, my dear ! " 

— Tom Moss. 

/ / 

" Here's to the light that lies 
In woman's eyes. 
And lies — and lies — and lies ? " 


The Makings of a Musician 

"Gee! I wonder if I could wear that? 

159 ...Tftt W^^eumt... 1909 

Why are some people's teeth like the stars ? They come out even- night. — From a 

Bishop: Kerr, do you know the difference between a jackass and a Kerr (cur)? 
Kerr: No, what is it? 

Bishop : A jackass is always able to return the kick, but a Kerr (cur) can only 
show his teeth and howl, 

Kerr: Ver}- good, Bish ; now can you tell the difference between a Bishop and a 

Bishop : No. 

Kerr : Neither can I. 

A Study in Leg-ato Touch 

There was a Man in our Town 

There was a man in our town, 

And he was wondrous wise ; 
He called to see a Dana girl. 

Who claimed him as a prize. 

But though this man knew many things. 

One thing he did not know. 
And this was, that the lights winked twice 

Before 'twas time to go. 

Moral : If this had been his second time at the 
there was another wink coming. — M . W . 

When first they flickered, and went out. 

He rose to say farewell : 
What happened in that darkness brief 
I do not choose to tell. 

But when he saw those lights come on, 

With all his might and main 
He sprang up towards the chandelier 
And turned them off a^ain. 

dorms " he would have known that 

160 ^^^Z^t Mtumt^^^ 1909 

If anyone desires a fine rendition of "The Legend of the Mill," apply to Elizabeth 
Walsh, Room 49, Dana Hall. Office hours 9 to 12 p. m. 

Frost Hall Girl : Oh ! Nurse, I think I have sprained my ankle ! What shall I 
do for it ? 

Miss C: Take a big dose of salts the first thing in the morning. 

The girls at the " Dorms " all agree that they prefer " bald-headed puddings." 

The best pears ripen slowly, and so with genius. — Tyler. 

Liszt! Amid the Haydn (high din) of the "Holiday in Jail," methinks I hear 
Edith N's sweet voice ! " Schumann ! " she says, in such a tone that the tramp retreats 
Offenbach the scenes. Edith could never Baermann, though she has great Paur to Handel 
them.— C. 

Vex not thou the poet's mind 

With thy shallow wit ; 
Vex not thou the poet's mind. 

For thou cans't not fathom it. — Snonv. 





The School Year 


For Particulars and Year Book Address 
Huntington Avenue, Boston, Mass. 


Jordan Marsh Co 

Established 1831 

The Mercantile Heart of New England 


That on account of the enormous volume 
of our business — it being larger than the 
total of any three other New England 
stores — our assortments in each and 


every department are more than twice as large and complete as those 
shown by any of the other stores. 

38 Years of "Keeping Faith" 

Not merely by searching the entire world for its choicest merchandise and 
marking it at a small margin of profit has this immense establishment attained 
its present high standing. That has been a pronounced factor, to be sure, but 
back of it, and overshadowing it, is the store's primal policy — its foundation 
business ethics — of strict integrity in all its dealings and keeping faith with its 
patrons at all times. 

Til is principle has been maintained unswervingly since the birth of this 
business. That it has been appreciated is shown by the public confidence that 
through all these years has been placed in the store's reliability — a confidence 
more deeply rooted to-day, if possible, than ever before — and certainly never 
better deserved. 

The people of New England have learned to rely upon the character of 
Jordan goods and the moderateness of Jordan prices. They rely on the accuracy 
of the advertisements that bear this firm's name, knowing full well that every 
announcement must ring true — that a promise here means a performance — that 
every statement will be carried out to the letter. 

The practical expression of that reliance has made this great store possible — 
a splendid commentary on its fair dealing methods. Surely, honesty is a good 
policy — in business as well as out — and on that good, old-fashioned principle 
we'll continue, so long as this business exists, to " ^eep faith " with our patrons. 


iHe%u England' s Greatest Piano House 


Eiclusrve Distributers of 


Also Eiclushe Pepresenfifives for the Sale of 

The Pianola, The Metrostylc Pianola, The 
Metrostyle Pianola with Themodist, 
The Orchestrelle, Aeolian Pipe 
Organs, and the 


Largest New England Dealers in 


Bruicb«s in the Principal Gtks of Nrv England 


Meyer Jonasson & Co. 


Fashion Centre of New En^land^^ 

Tailored Suits , Coats ^ Gowns ^ 

Waists^ Skirts^ Petticoats 

MISS A. B. ROBERTS Telephone 

Proprietor Back Bay !26!22 


Flower Shop 

689 Boylston Street 
Corner of Exeter Street 


The Piano that has set the standard in tone and 
wearing qualities for over fifty years — the Piano that has 
stood foremost among high-grade instruments for over half a 
century. Its superior merits has placed it at the very pinnacle 
of popularity and justly won for it the endorsement of the 
most critical judges in the musical world. 

Wherever distinctive merit is appreciated there you will find 

One hundred and sixty-one StiefT Pianos now in use in 
the New England Conservatory of Music. A marvel of 
Piano construction is our 


Extreme length 5 feet, with all the tone qualities and volume 

of a full-size grand. 

Another production of the Stieff Factory is 


So perfectly constructed as to permit the interpretation of the 
most complicated selections with almost human expression. 
It is an instrument that meets the demand of the critical. 




The Boston Music Co. 

26 and 28 West Street, Boston, Mass. 

Publishers, Dealers and Importers of Music 

Dieses & Clust 

" If we made it, it's right" 

Class Pins 



47 Winter Street 

129 Tremoiit Street 



Everything for the Amatenr 

Bring your films and plates to 
us to be properly developed 
and printed. 

Hubbell & McGowan 

Opposite Symphony Hall 

C apian 


Fine, Tke Florist 



^Vholesale and Retail 

144 Massachusetts Avenue 


Telephone 3276-5 Back Bay 

Discounts to Students 













" Unsurpassed by any American or European 

" Without exception the finest piano I have 
ever met with." 

" Pre-eminently sympathetic to the player in 
both touch and tone." 

" I have never before been so completely satisfied 
with any piano as with the Mason & Hamlin." 

" Mason & Hamlin pianos are matchless." 

" An artistic creation which need fear no rival." 

" One can sing expressively on your piano." 

" Great beauty of tone and unusual capacity 
for expressiveness." 

" I congratulate you on the perfection of your 

" Musical instrument of the highest artistic 

" I believe the Mason & Hamlin piano match- 
less, an artistic ideal." 

" I congratulate you on these wonderful instru- 

"Superb, ideal." 

" Unequalled in beauty of tone, singing capacity 
and perfection of mechanism." 

Mason & Hamlin Co. 492-494 Boylston Street 

Opposite Institute of Technology 



Miniatures a Special Feature 


1 60 Tremont Street, near Keith's 

Telephone, 677 Oxford 

New York Studio, 258 Fifth Avenue 
Philadelphia Studio, 1 609 Chestnut Street 
Los Angeles Studio, 277 So. Spring Street 



Henry F. Miller 



represent the highest type of art instruments produced to meet the most 
exacting requirements of the musician who demands 
perfection in tone, touch and staying power. 

We make a Specialty of Renting Fine Pianos to Discriminating Students 


395 Boylston Street - Boston 


C. W. Thompson and Co. 

1 i^ll 1 c ^ 

x^u u ir>c 

Pelleas et 




XKe Juggler of 


Notre Dame 


La Navarraise 

La Traviata 

Lucia di Lam- 




La BoKeme 

Tales of Hoff- 






Emerson College of Oratory 

Wm. J. liolfe, A.M., Litt.D. 

President Emeritus 

Henry Lawrence Southwick 

^ The largest School of Oratory, Literature, Phys- 
ical Culture, Dramatic Art and Pedagogy in Amer- 
ica. It aims to develop in the student a knowl- 
edge of his own powers in expression, whether as 
a creative thinker or an interpreter. Summer 
sessions. Teachers in demand. Last year 70 
graduates accepted positions in colleges, normal 
and high schools. 29th year, open Tuesday, Sep- 
tember 21st. 

Harry Seymour Rons, Dean 
Hiintlngfon Avenue - - Boston, Mass. 

New England Art Company 

Hand Carbed Trames for Photographs 

JAMES WIUGHT. Proprietor 



Compliments of 




A la carte from 7 a. m. until midnight 
Cuisine par excellence 


Caterers and Confectioners 

Fresh Eggs, Milk, Cream, Butter, Meats, Poultry, 
Fruits and Vegetables direct every morning from the 

Putnam Dairy Farm 

Lexington, Mass. 

Delicatessen and Fancy Groceries Fancy Ices, Cakes, Sandwiches 

Home Made Bread and Pastry and Thinner Entrees 

Special rates for Receptions, Parties, etc. Catering a Specialty. 

282 Huntington Avenue 

Conservatory Pharmacy 

286 Huntington Avenue 

Students' Spa 

Putnam's Cafe 

Post Office, Telegraph Office, General Information Bureau 

Drugs, Soda and Cigars, (Manicure Goods and Toilet Articles 
Periodicals and Stationery. Prescriptions our Specialty 

Registered Pharmacists always in attendance 

We want your patronage and solicit an early opening of your account. 


F. H. Putnam 

.^^7.•.•^^'■! ■